Vakula the Smith - Revision history

Brett: Text replacement - "Moscow Gazette" to "Moscow Register"

2024-05-27T09:29:21Z

Text replacement - "Moscow Gazette" to "Moscow Register"

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	In the competition, the opera ''Vakula the Smith'' was submitted anonymously under the Latin motto ''Ars longa, vita brevis'' ["Art is long, life is short"].		In the competition, the opera ''Vakula the Smith'' was submitted anonymously under the Latin motto ''Ars longa, vita brevis'' ["Art is long, life is short"].

	In October 1875, the ''Moscow ~~Gazette~~'' reported that Tchaikovsky had been awarded the prize of 1500 rubles for the opera.		In October 1875, the ''Moscow Register'' reported that Tchaikovsky had been awarded the prize of 1500 rubles for the opera.

	On 1/13 October 1875, [[Nikolay Rimsky-Korsakov]] wrote to Tchaikovsky: "I have carefully gone through your ''Vakula''. I will discuss this in detail when we meet, but I will tell you now that it has much that pleases me and much that displeases me, but nonetheless this is by far the best of your operas (the first two I do not know, but you yourself have disowned them). Its many deficiencies, in my opinion, were solely due to the libretto. I am absolutely sure that you have still written an opera which will go with a ''crescendo'' on its own merits. I liked very much the scene with the mayor, schoolteacher, devil and Chub in the first scene of the second act, and also the scene with Chub and Panas in the first during the snowstorm. Solokha and the chorus were marvellous. Oksana's song in the first act was very sweet, but suffered from an excess of sentimentality that did not sit well with Oksana, but this was the fault of the libretto and not you. The fantastic flight, built around the theme "In the saddle" [Оседлаю помело], was not wholly to my taste, but perhaps it will play better with the orchestra (I still have not seen the full score). I thought the Polonaise was a little heavy-handed. But what an outstanding and, above all, original harmonist you are! I intended to speak with you about the opera when we meet, but I could not restrain myself from expressing my thoughts... Your opera (I do not doubt for a moment) is worthy of the prize" <ref name="note15"/>.		On 1/13 October 1875, [[Nikolay Rimsky-Korsakov]] wrote to Tchaikovsky: "I have carefully gone through your ''Vakula''. I will discuss this in detail when we meet, but I will tell you now that it has much that pleases me and much that displeases me, but nonetheless this is by far the best of your operas (the first two I do not know, but you yourself have disowned them). Its many deficiencies, in my opinion, were solely due to the libretto. I am absolutely sure that you have still written an opera which will go with a ''crescendo'' on its own merits. I liked very much the scene with the mayor, schoolteacher, devil and Chub in the first scene of the second act, and also the scene with Chub and Panas in the first during the snowstorm. Solokha and the chorus were marvellous. Oksana's song in the first act was very sweet, but suffered from an excess of sentimentality that did not sit well with Oksana, but this was the fault of the libretto and not you. The fantastic flight, built around the theme "In the saddle" [Оседлаю помело], was not wholly to my taste, but perhaps it will play better with the orchestra (I still have not seen the full score). I thought the Polonaise was a little heavy-handed. But what an outstanding and, above all, original harmonist you are! I intended to speak with you about the opera when we meet, but I could not restrain myself from expressing my thoughts... Your opera (I do not doubt for a moment) is worthy of the prize" <ref name="note15"/>.

Brett at 17:49, 9 September 2023

2023-09-09T17:49:12Z

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	Instead of two horns in unison, only the first horn alone will enter on the fourth bar of page 82 and the fourth bar of 83. On pages 85 and 86 I've struck out all the woodwinds, and also the second pair of horns and trumpets; in this passage I've put the strings mf instead of f.		Instead of two horns in unison, only the first horn alone will enter on the fourth bar of page 82 and the fourth bar of 83. On pages 85 and 86 I've struck out all the woodwinds, and also the second pair of horns and trumpets; in this passage I've put the strings mf instead of f.

	3) On the 87th page I've allowed myself to make a cut and alterations in this passage, which I strongly urge you to agree to. This should present no difficulties whatsoever for the orchestra, although ''Oksana'' wil have to learn the words "''I both want to weep and cry with laughter''" with different music, which should also be no trouble for Mrs Raab. The change occurs after Vakula's departure, the orchestra playing another five bars and stopping on the 6th, at the first quaver. Here Oksana sings recitatives to the words "''want to weep''", after which a quartet plays three chords, before Oksana says "''and cry with laughter''". Then after the cut the orchestra enters, playing the last six bars of the scene as before, but omitting one bar for the sake of rhythmic symmetry. In short, this whole passage will be refashioned as follows:		3) On the 87th page I've allowed myself to make a cut and alterations in this passage, which I strongly urge you to agree to. This should present no difficulties whatsoever for the orchestra, although ''Oksana'' wil have to learn the words "''I both want to weep and cry with laughter''" with different music, which should also be no trouble for Mrs [[Raab]]. The change occurs after Vakula's departure, the orchestra playing another five bars and stopping on the 6th, at the first quaver. Here Oksana sings recitatives to the words "''want to weep''", after which a quartet plays three chords, before Oksana says "''and cry with laughter''". Then after the cut the orchestra enters, playing the last six bars of the scene as before, but omitting one bar for the sake of rhythmic symmetry. In short, this whole passage will be refashioned as follows:
	{{center\|[[File:0962 ex3.jpg\|350px]]}}		{{center\|[[File:0962 ex3.jpg\|350px]]}}
	If it proves difficult for you to insert the three chords into the quartet parts, then one bar after the words "want to weep" may be omitted. But I most earnestly implore you and Mrs Raab to consent to this insignificant alteration.		If it proves difficult for you to insert the three chords into the quartet parts, then one bar after the words "want to weep" may be omitted. But I most earnestly implore you and Mrs [[Raab]] to consent to this insignificant alteration.

	4) In the 1st scene of Act 3, page 38, I've changed the instrumentation of two bars:		4) In the 1st scene of Act 3, page 38, I've changed the instrumentation of two bars:

Brett: Text replacement - "Wilhelmina Raab" to "Wilhelmina Raab"

2023-09-09T17:38:34Z

Text replacement - "Wilhelmina Raab" to "Wilhelmina Raab"

← Older revision		Revision as of 19:38, 9 September 2023
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	In early/mid-December, Tchaikovsky received official notification that the opera was scheduled for performance in the next season on the stage of the Mariinsky Theatre in [[Saint Petersburg]] <ref name="note20"/>.		In early/mid-December, Tchaikovsky received official notification that the opera was scheduled for performance in the next season on the stage of the Mariinsky Theatre in [[Saint Petersburg]] <ref name="note20"/>.

	On 20 November/2 December 1876, [[Eduard Nápravník]] conducted the Minuet, Russian Dance and Cossack Dance (Act III, Nos. 15–17) at the 2nd Russian Musical Society concert in [[Saint Petersburg]]. The premiere of the complete opera took place just four days later, on 24 November/6 December 1876, at the Mariinsky Theatre under the same conductor, and the following cast: [[Fyodor Komissarzhevsky]] (''Vakula''), Anna Bichurina (''Solokha''), Ivan Matchinsky (''Chub''), Wilhelmina Raab (''Oksana''), [[Ivan Melnikov]] (''Devil''), Nikolay von Derwiz (''Schoolmaster''), Osip Petrov (''Mayor''), Vasily Vasilyev II (''Panas''), Fyodor Stravinsky (''His Highness''), and Pavel Dyuzhnikov (''Attendant'').		On 20 November/2 December 1876, [[Eduard Nápravník]] conducted the Minuet, Russian Dance and Cossack Dance (Act III, Nos. 15–17) at the 2nd Russian Musical Society concert in [[Saint Petersburg]]. The premiere of the complete opera took place just four days later, on 24 November/6 December 1876, at the Mariinsky Theatre under the same conductor, and the following cast: [[Fyodor Komissarzhevsky]] (''Vakula''), Anna Bichurina (''Solokha''), Ivan Matchinsky (''Chub''), [[Wilhelmina Raab]] (''Oksana''), [[Ivan Melnikov]] (''Devil''), Nikolay von Derwiz (''Schoolmaster''), Osip Petrov (''Mayor''), Vasily Vasilyev II (''Panas''), Fyodor Stravinsky (''His Highness''), and Pavel Dyuzhnikov (''Attendant'').

	Afterwards, Tchaikovsky wrote to [[Sergey Taneyev]]: "''Vakula'' was a spectacular flop. The first two acts passed amid sepulchral silence, with the exception of the overture and the first duet, which were applauded. In the scene with the ''mayor'' and especially the ''clerk'' there was much laughter, but no applause or curtain-calls. After the third and fourth acts (the third was divided into two) I was called for a few times, but with loud hissing from a substantial part of the public. The second performance fared somewhat better, but all the same it is possible to say with some confidence that the opera did not please, and that it will hardly last out more than five or six performances. It is worth noting that at the dress rehearsal everyone, including ''[[Cui]]'', predicted that it would be an enormous success. That made the opera's failure all the more painful and distressing for me. I shall not conceal the fact that I am badly shaken and disheartened. The main thing is that I cannot complain about the performers or the staging. Everything was done diligently, attentively, and even lavishly. The designs were simply splendid [...] it is I who am to blame for the opera's failure. It is too crammed with details, too densely orchestrated and too poor in vocal effects. Only now do I understand why, if you remember, when I played ''Vakula'' for the first time at [[Nikolay Rubinstein\|Rubinstein]]'s, you all remained so cool and dissatisfied. The style of ''Vakula'' is in no way operatic; it lacks breadth and sweep" <ref name="note21"/>.		Afterwards, Tchaikovsky wrote to [[Sergey Taneyev]]: "''Vakula'' was a spectacular flop. The first two acts passed amid sepulchral silence, with the exception of the overture and the first duet, which were applauded. In the scene with the ''mayor'' and especially the ''clerk'' there was much laughter, but no applause or curtain-calls. After the third and fourth acts (the third was divided into two) I was called for a few times, but with loud hissing from a substantial part of the public. The second performance fared somewhat better, but all the same it is possible to say with some confidence that the opera did not please, and that it will hardly last out more than five or six performances. It is worth noting that at the dress rehearsal everyone, including ''[[Cui]]'', predicted that it would be an enormous success. That made the opera's failure all the more painful and distressing for me. I shall not conceal the fact that I am badly shaken and disheartened. The main thing is that I cannot complain about the performers or the staging. Everything was done diligently, attentively, and even lavishly. The designs were simply splendid [...] it is I who am to blame for the opera's failure. It is too crammed with details, too densely orchestrated and too poor in vocal effects. Only now do I understand why, if you remember, when I played ''Vakula'' for the first time at [[Nikolay Rubinstein\|Rubinstein]]'s, you all remained so cool and dissatisfied. The style of ''Vakula'' is in no way operatic; it lacks breadth and sweep" <ref name="note21"/>.

Tony: /* Related Works */

2023-04-11T18:19:06Z

Related Works

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	==Related Works==		==Related Works==
	In Act I, No. 1, Solokha's Song («Ой, как светит месяц») is based on the Ukrainian folk-tune 'Once Upon a Time' (Ой, коля були).		In Act I, No. 1, Solokha's Song («Ой, как светит месяц») is based on the Ukrainian folk tune 'Once Upon a Time' (Ой, коля були).

	The Russian Dance in Act III (No. 16), includes the folk tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).		The Russian Dance in Act III (No. 16), includes the folk tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).

Tony: /* Related Works */

2023-04-11T18:18:27Z

Related Works

← Older revision		Revision as of 20:18, 11 April 2023
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	In Act I, No. 1, Solokha's Song («Ой, как светит месяц») is based on the Ukrainian folk-tune 'Once Upon a Time' (Ой, коля були).		In Act I, No. 1, Solokha's Song («Ой, как светит месяц») is based on the Ukrainian folk-tune 'Once Upon a Time' (Ой, коля були).

	The Russian Dance in Act III (No. 16), includes the folk-tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).		The Russian Dance in Act III (No. 16), includes the folk tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).

	==Notes and References==		==Notes and References==

Tony: /* Related Works */

2023-01-17T20:05:55Z

Related Works

← Older revision		Revision as of 22:05, 17 January 2023
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	In Act I, No. 1, Solokha's Song («Ой, как светит месяц») is based on the Ukrainian folk-tune 'Once Upon a Time' (Ой, коля були).		In Act I, No. 1, Solokha's Song («Ой, как светит месяц») is based on the Ukrainian folk-tune 'Once Upon a Time' (Ой, коля були).

	The Russian Dance in Act III (No. 16), includes the ~~folktunes~~ 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).		The Russian Dance in Act III (No. 16), includes the folk-tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).

	==Notes and References==		==Notes and References==

Tony: /* Autographs */ Added "are" due to context

2023-01-17T20:03:03Z

Autographs: Added "are" due to context

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	The fragments from Tchaikovsky's full score which were not re-used in ''[[Cherevichki]]'' are now preserved in the [[Klin]] House-Museum Archive (a{{sup\|1}}, No. 10).		The fragments from Tchaikovsky's full score which were not re-used in ''[[Cherevichki]]'' are now preserved in the [[Klin]] House-Museum Archive (a{{sup\|1}}, No. 10).

	The following fragments from his vocal-piano reduction of the opera held by the {{RUS-Mcm}} in [[Moscow]]:		The following fragments from his vocal-piano reduction of the opera are held by the {{RUS-Mcm}} in [[Moscow]]:
	* Overture {{TOW2\|kuznec-vakula-ili-noch-pered-rozhdestvom-komicheskaya-opera-v-3-h-deystviyah-8-mi-kartinah-uvertyura\|(ф. 88, No. 14)}}		* Overture {{TOW2\|kuznec-vakula-ili-noch-pered-rozhdestvom-komicheskaya-opera-v-3-h-deystviyah-8-mi-kartinah-uvertyura\|(ф. 88, No. 14)}}
	* Act I, No. 1 and No. 2 (start) {{TOW2\|kuznec-vakula-ili-noch-pered-rozhdestvom-komicheskaya-opera-v-3-h-deystviyah-8-mi-kartinah-deystvie-i-kartiny-1-2-nachalo\|(ф. 88, No. 16/1)}}		* Act I, No. 1 and No. 2 (start) {{TOW2\|kuznec-vakula-ili-noch-pered-rozhdestvom-komicheskaya-opera-v-3-h-deystviyah-8-mi-kartinah-deystvie-i-kartiny-1-2-nachalo\|(ф. 88, No. 16/1)}}

Tony: /* Performances */

2023-01-17T19:58:28Z

Performances

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	On 22 November/4 December 1874, at a concert of the [[Moscow]] branch of the Russian Musical Society, [[Nikolay Rubinstein]] conducted the overture, described on the concert bill as "overture to an unfinished opera" <ref name="note19"/>.		On 22 November/4 December 1874, at a concert of the [[Moscow]] branch of the Russian Musical Society, [[Nikolay Rubinstein]] conducted the overture, described on the concert bill as "overture to an unfinished opera" <ref name="note19"/>.

	In early/mid December, Tchaikovsky received official notification that the opera was scheduled for performance in the next season on the stage of the Mariinsky Theatre in [[Saint Petersburg]] <ref name="note20"/>.		In early/mid-December, Tchaikovsky received official notification that the opera was scheduled for performance in the next season on the stage of the Mariinsky Theatre in [[Saint Petersburg]] <ref name="note20"/>.

	On 20 November/2 December 1876, [[Eduard Nápravník]] conducted the Minuet, Russian Dance and Cossack Dance (Act III, Nos. 15–17) at the 2nd Russian Musical Society concert in [[Saint Petersburg]]. The premiere of the complete opera took place just four days later, on 24 November/6 December 1876, at the Mariinsky Theatre under the same conductor, and the following cast: [[Fyodor Komissarzhevsky]] (''Vakula''), Anna Bichurina (''Solokha''), Ivan Matchinsky (''Chub''), Wilhelmina Raab (''Oksana''), [[Ivan Melnikov]] (''Devil''), Nikolay von Derwiz (''Schoolmaster''), Osip Petrov (''Mayor''), Vasily Vasilyev II (''Panas''), Fyodor Stravinsky (''His Highness''), and Pavel Dyuzhnikov (''Attendant'').		On 20 November/2 December 1876, [[Eduard Nápravník]] conducted the Minuet, Russian Dance and Cossack Dance (Act III, Nos. 15–17) at the 2nd Russian Musical Society concert in [[Saint Petersburg]]. The premiere of the complete opera took place just four days later, on 24 November/6 December 1876, at the Mariinsky Theatre under the same conductor, and the following cast: [[Fyodor Komissarzhevsky]] (''Vakula''), Anna Bichurina (''Solokha''), Ivan Matchinsky (''Chub''), Wilhelmina Raab (''Oksana''), [[Ivan Melnikov]] (''Devil''), Nikolay von Derwiz (''Schoolmaster''), Osip Petrov (''Mayor''), Vasily Vasilyev II (''Panas''), Fyodor Stravinsky (''His Highness''), and Pavel Dyuzhnikov (''Attendant'').
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	The opera was due to be published by [[Vasily Bessel]], but Tchaikovsky rejected this and instead gave [[Pyotr Jurgenson]] the rights to the edition <ref name="note25"/>. In February and March 1876, Tchaikovsky corrected the proofs of the edition. In a letter of 3/15 March to [[Modest Tchaikovsky]] he wrote: "I am still pressing on with the never-ending proofs of ''Vakula'', which is due to go to press in two weeks" <ref name="note26"/>.		The opera was due to be published by [[Vasily Bessel]], but Tchaikovsky rejected this and instead gave [[Pyotr Jurgenson]] the rights to the edition <ref name="note25"/>. In February and March 1876, Tchaikovsky corrected the proofs of the edition. In a letter of 3/15 March to [[Modest Tchaikovsky]] he wrote: "I am still pressing on with the never-ending proofs of ''Vakula'', which is due to go to press in two weeks" <ref name="note26"/>.

	The vocal-piano reduction of the opera was published in April 1876 <ref name="note27"/>, but the full score was never brought out. In 1885 Tchaikovsky reworked ''Vakula the Smith'' as ''[[Cherevichki]]'', making significant changes and additions to the original version.		The vocal-piano reduction of the opera was published in April 1876 <ref name="note27"/>, but the full score was never brought out. In 1885, Tchaikovsky reworked ''Vakula the Smith'' as ''[[Cherevichki]]'', making significant changes and additions to the original version.

	The full score of the excerpts of ''Vakula the Smith'' that were not later incorporated into ''[[Cherevichki]]'' were published for the first time in 1956 in volume 35 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by V. D. Vasilyev, as a supplement to the vocal-piano reduction of the whole opera}.		The full score of the excerpts of ''Vakula the Smith'' that were not later incorporated into ''[[Cherevichki]]'' were published for the first time in 1956 in volume 35 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by V. D. Vasilyev, as a supplement to the vocal-piano reduction of the whole opera.

	==Autographs==		==Autographs==

Tony: /* Composition */ Omitted "not only" to avoid repetition

2023-01-17T19:50:49Z

Composition: Omitted "not only" to avoid repetition

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	5) In the 3rd scene of the same act on page 114 I've changed the instrumentation of two bars.		5) In the 3rd scene of the same act on page 114 I've changed the instrumentation of two bars.

	Apart from these unimportant corrections, I can do no more. Wherever I wanted to make substantial changes to the orchestral accompaniment, in order to enhance the voices, I encountered insurmountable obstacles, i.e. I would either have to change ~~not only~~ not only the orchestra, but the music itself, or to leave everything as it was. I had to settle for the latter. For example, in the scene with Vakula and the Devil, after the dances in the palace no words are audible at all, because the complex figuration in the orchestra prevent the singers from singing freely — but how could I improve this without radically altering the music?" <ref name="note17"/>.}}		Apart from these unimportant corrections, I can do no more. Wherever I wanted to make substantial changes to the orchestral accompaniment, in order to enhance the voices, I encountered insurmountable obstacles, i.e. I would either have to change not only the orchestra, but the music itself, or to leave everything as it was. I had to settle for the latter. For example, in the scene with Vakula and the Devil, after the dances in the palace no words are audible at all, because the complex figuration in the orchestra prevent the singers from singing freely — but how could I improve this without radically altering the music?" <ref name="note17"/>.}}

	==Arrangements==		==Arrangements==

Tony: /* Composition */ Text replacement - "premiers" to "premiere"

2023-01-17T19:46:08Z

Composition: Text replacement - "premiers" to "premiere"

← Older revision		Revision as of 21:46, 17 January 2023
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	The standard of the other operas entered in the competition was very poor, [[Nikolay Rimsky-Korsakov]] concluded. "Apart from your opera, not one of the other entrants would have been worthy of the prize or of a performance, in my opinion" <ref name="note16"/>.		The standard of the other operas entered in the competition was very poor, [[Nikolay Rimsky-Korsakov]] concluded. "Apart from your opera, not one of the other entrants would have been worthy of the prize or of a performance, in my opinion" <ref name="note16"/>.

	However, ''Vakula the Smith'' was not warmly received at its ~~premiers~~ in 1876 (see below), and for the 1878 revival Tchaikovsky discussed the work's deficiencies with [[Eduard Nápravník]], and on the advice of the latter he decided to make a number of alterations and cuts in the opera. He wrote of these to [[Nápravník]] on 7/19 November 1878: "Here are the changes which, following your advice, I have made in "''[[Vakula]]''":		However, ''Vakula the Smith'' was not warmly received at its premiere in 1876 (see below), and for the 1878 revival Tchaikovsky discussed the work's deficiencies with [[Eduard Nápravník]], and on the advice of the latter he decided to make a number of alterations and cuts in the opera. He wrote of these to [[Nápravník]] on 7/19 November 1878: "Here are the changes which, following your advice, I have made in "''[[Vakula]]''":

	{{quote\|1) At the end of the first scene I found it possible to make a significant cut, which, it seems to me, is extremely beneficial to the general effectiveness of this scene. I have struck out the whole scene of ''Chub with Panas'', as well as the following chorus (a repetition of what has gone before), and from the chorus's words "''creep into the clearing" through one-and-a-half bars I'm jumping directly to the coda, i.e. in the rough copy of the full score which my brother will be giving you, this cut commences on bar 5 of the 38th page, and finished on bar 3 of the 45th.		{{quote\|1) At the end of the first scene I found it possible to make a significant cut, which, it seems to me, is extremely beneficial to the general effectiveness of this scene. I have struck out the whole scene of ''Chub with Panas'', as well as the following chorus (a repetition of what has gone before), and from the chorus's words "''creep into the clearing" through one-and-a-half bars I'm jumping directly to the coda, i.e. in the rough copy of the full score which my brother will be giving you, this cut commences on bar 5 of the 38th page, and finished on bar 3 of the 45th.