Roger Scruton: Music and Transcendental

uh what what i shall talk about today are some philosophical ideas about music itself in particular about classical music and why uh we think it is such an important thing and it's an extremely difficult area because for many reasons people who love music often find it extremely difficult to talk about it to say what it is that they love in it and people who who who dislike it um nevertheless uh think that they have very good reasons to do so and there seems to be no forum of debate in which people can try to come to some agreement as to why music has the importance that it has in our society i'm going to say a few things about that and also about the theme that i put in the title i think we have to begin from this idea that we've inherited a listening culture now that listening is not an easy thing itself to define there is such a thing as hearing we hear music all the time around us but most of us don't pay attention to it partly because most of it is not worth paying attention to but there's also overhearing and that is a very common experience wherever we are in restaurants or in the metro whatever or wherever you will be overhearing music from coming at us from all angles and learning how to ignore it you know and music wasn't originally designed to be ignored but we live in a society where if we don't learn to ignore it we can't also learn to listen to it and this puts an enormous strain on us and it's one reason of course for the existence of these special places like symphony halls where one can insulate oneself from the surrounding world and i totally endorse everything that leo crea just said to us about modern architecture and the way in which it has created alienating spaces where it should create spaces where we're at home and i think of all spaces where we should be at home the symphony hall is the most important so that many of us have this sense that the musical experience is of supreme value and musical experience of the kind i'm going to be talking about the the kind that involves listening is extremely important has been extremely important in our civilization western civilization is in many ways a musical civilization music has had a place in our civilization which he has never achieved elsewhere of course all people everywhere sing and dance dance in particular has a profound social meaning and without it most societies in the past could not have really held together but dancing is a very different thing from just sitting and listening and we have this long perhaps thousand year long experience of just sitting and listening for long moments and doing so in company so we detach music from collective singing and dancing and make of it what you might call a spectacle or an oracle an occasion for simply sitting together and listening even though this is detached from those natural social forms of musical order like singing and dancing it is still a social experience and it is something shared even when you're listening on your own there is an implicit sharing going on you you don't think of yourself as me alone listening to that you are as it were representing your ideal group of fellow listeners for whom this is a communal experience you're being returned in some way to so to a deep social experience within you now there are many threats however to this listening culture and in particular as i say that there are there is growing around us a habit of merely hearing music or merely overhearing music and having to fight music off so that you can listen you know there is music the music that you hear in most restaurants today is not music that you could listen to without going mad or if you did start listening to it then of course the the whole purpose of the restaurant would be defeated too it is there simply to fill in the the silence that would otherwise people fear be engendered between the people sitting at the tables by the fact that they've forgotten how to speak so you know that is only one place in which music intrudes but it intrudes in so many other ways and so many other places that we do have to learn the habit of ignoring it and that gives us a a real sense that learning to listen is not something that can be achieved simply by doing it we we need to habilitate ourselves to particular culture i want to say something uh in connection with this with the about the idea of the the sacred and we all of us have this conception within us that certain certain moments certain events certain ceremonies certain social uh social occasions stand outside the ordinary run of events they are not um they're not simply day-to-day events but somehow play their places times or occasions which take us outside ourselves and point us to another world or a world uh which we would whether or not we even think it exists is nevertheless there in our imaginations and beckoning to us and this of course is something that uh we are experiencing collective worship those those of us who who are believers or or attached to a particular faith and we recognize it as contained within liturgical words and the habit of chanting and i think it's worth thinking about this experience even if we may not it may not be an experience that we repeat each week in church or or mosque or synagogue or whatever nevertheless uh for for all of us there is deep in the unconscious memory this sense of the the ceremonial presence of the of the divine and our collective attention to it in this moment our attention is turned towards the altar and the altar is a kind of no place it's a it's a a place within our world which is also nowhere because there's nothing at it the thing that is there is is uh in some deep sense elsewhere it lies outside our world it's not of this world and this idea that we collectively turn our attention to something that is uh as it were absent but also for that very reason present that paradoxical uh sense is something that we've all i think inherited from the primary religious experience of humanity and when this occurs in the normal ceremony of of worship the words and the music seem to fill the void that is there it's a very important uh feature of our civilization that religious worship has always been or almost always been a matter of of music as well as words the words are formalized often they're words in a foreign language words that have been inherited inherited from a dead language it's they're not there specifically uh so that you should understand every nuance of them they are there because they are correct they sound right they've always been said but it's the music that for many of us that fills the void and turns our attention to the altar which is the as i say the the no place that is also a place and through this singing as it were we we summon the real presence of the god but we do this only because we have precise words precise songs the right words and songs and that is what we have inherited right this uh experience that we have of the uh the sacred moment in which we are addressing this snow place at the altar with with uh with music and ritualized words i think is always in the back of our experience when we enter the concert hall that this is the as it were the original experience from which we are downstream and this experience of the real presence of the of the sacred the sacramental uh the consecrated is a shared experience even if you encounter it alone when you walk into a a church in an in a quiet rural place and you're alone in that church you are for that very reason as it were not alone uh you you're being addressed addressed from nowhere but as a member of something and so you always adopt precise steps precise tones you you speak in hush tones and you're looking around yourself always for the precise words and precise gestures that would make your presence here into something acceptable and i think music captures something of this no place experience the no place where it all takes place and that's because it moves in a space of its own and in listening we stand at the threshold of this space and i think this is something which is a philosophical point which is sometimes quite difficult to put across but let me just give a few thoughts when we when we listen to music and perhaps not playing it or even seeing it but just listening we experience this sense of things moving the theme moves up and down the one-dimensional space that it that is represented in the bar lines of the score and it moves from one place to another the the opening theme of beethoven's third piano concerto for instance moves from c to e flat to g [Music] it comes down again you know so between between those uh notes there is a movement that you hear but but it's an imaginary movement the notes themselves are simply sounds in if you think of them in real physical terms there's a sequence of sounds but we here in that sequence a movement up and then down and it has a certain force to it uh it has a certain speed and the sounds themselves have weight you know as it as it goes down that c minor scale to the tonic you you feel the weight increasing it's got to go further it's got to go further and then beethoven stops it and does a couple of uh dominant to tonic commas to to stop the music in midstream and musical sounds have all kinds of spatial features like opacity or transparency and the chords in a debussy prelude might be might sound too totally uh transparent so you could see hear hear what is coming from behind them and there's a gravitational force in music things seem to uh as it were be attracted to each other they seem to drag things behind each other they coalesce and see if i can get this example it probably is going to be the same problem yeah it's not uh it's not working no no matter i was just going to play you an extract from the from the beginning of brahms's second piano concerto where as the musical people in the audience all it's all right it doesn't matter yeah but the the horn announces the the um first phrase of the opening theme and seems to drag the piano behind it which then the piano then takes over from the horn and completes the phrase but you know the piano is one part of the concert hall the horn in another part there is no physical interaction between them but in the notes that you hear in in the musical line you hear a gravitational force which is making those two things cohere together and to move together right so so that this is all by way of suggesting that um that this is not going to work so i'll go on for this all by way of suggesting that music in the listening culture to which i'm referring is organized spatially even though it isn't a real space there there is no actual space comparable to the physical space in which you and i live that um that that is being displayed by the music the music itself is creating that space and it's creating it in your imagination so it has some of this character the musical experience of being nowhere it's creating a space of its own which is not part of the physical space in of which we are privileged witnesses through our ears so to speak but into in which we ourselves cannot enter either in something like the way that we sense that there is a real presence around us in the sacred moment but it's addressing us from nowhere where we are now this raises the question of you know how we find meaning in music what kind of meaning that we do we find and how important is it to us and does this help to explain the incredible incredible weight that has been uh given to the musical experience in in our culture obviously music can occur in conjunction with words music is used to set words and many people think that that is the primary way in which in which music acquires meaning through word setting that you have you have a poem on the one hand and then you have the the musical setting on the other hand and somehow they come together in the experience of these things and we hear the music as an uh perhaps an illustration of the words or expressing the same thing as the words express uh and those of you you who are familiar with the leader especially the schubert songs will recognize that that there is something consummate in what the music can can provide to a very simple poem by way of translating it from from a naive expression of something into a kind of perfected drama but what what exactly is going on here i want to say that it's not just an identity of expression but much more to do with the fact that the music provides appropriate gestures because it's moving in this imaginary space that we ourselves are imagining in hearing that we are filling we're surrounding the words with the gestures which in some way complete them so it's as though the music is observing the words uh with a sympathetic gaze it's it's as we're standing next to them and and moving with them and i think this is um for this reason uh contrasting words can be set to the same music in many of the bach cantatas you will find the composer uses again and again some of the the things that some of the themes and the and the whole structures which appeal to him because they fit into the musical context and they seem absolutely appropriate even though perhaps the emotions ex suggested by the words are completely different on each occasion and many people have thought well that's very odd that isn't that a proof that music really doesn't express emotion at all that if it can be used in these completely contrasting ways doesn't that that suggest that really after all it's an illusion on our part that we attribute these emotional me the emotional meaning to the music but i think that's not right if we see the music as uh as i say as as as it were observing the words sympathetically responding to them with the gestures that are appropriate to them then of course it could be making the same movements in response to contrasting emotions in the words what it is doing is is providing those words with the context which enables us to identify with them so in the supreme examples however we want to say that the music is in some way picking up the words and taking them to another place the no place that is also a sacred place i was going to play you then bach's famous um arya from the saint matthew passion the which i perhaps many of you will know opens with the violin obligato on one of the longest melodies that have ever been composed and simply introducing before any words have been uttered the state of the the state of mind of that bach wishes you to to understand and it's a very complex state of mind at that moment in the st matthew passion it occurs just after the moment when peter has heard the cockacrow and remembered the the words of jesus who had told him that that before the clock crows he would betray him thrice and he goes out and weeps bitterly and his beautiful recitative uh setting those words followed by this extraordinary violin melody in 12 8 time and you don't know yet what is going to be said and what is said by the words is something very strange it's not a not a direct comment on on peter's emotion it's just a a general plea for mercy from god have mercy on me my god in other words recognize that i live in a state of sin and i could never and i will always fall short of what is required of me so um because music can have that extraordinary um emotional power of its own independently of words even if it can be put to the use of words there arose at a certain stage in the history of our civilization the idea that that the real meaning of music would be best identified if we could separate it from words altogether and this um so a certain distinction was made in the late 18th century early 19th century between music that is applied and and absolute music and absolute music was thought to be the the true music the music which is not put to use in setting words or or in accompanying a dance or in in managing the conduct of a drama or or any any of the normal uses to which music might be put but music is just there it for its own sake in its own right and that surely is the music of the concert hall music which is simply played to which we attend to in reverent silence and the word absolute was very appealing to the german romantic philosophers and and poets who first put it forward and partly because it is a philosophical word it seems to denote something which has uh purified itself of all pollution from the surrounding day-to-day reality so this this kind of music is lifted out of all its applications uh so as to reveal what it is in its in itself in its essence so it reveals its intrinsic meaning now whether you can make a full sense of that is one of the great questions of musical aesthetics and i'll just say one or two things about it because i think again this is part of trying to understand why music has had the enormous significance that it has had for us the the first point to make is that the music is not a representational art and i think um this is not often seen quite as clearly as it should be seen painting as you know is a representational art uh at its um at it in its highest forms it is an attempt to depict reality and it shows the world in a certain light but it the world that it shows is independent of the painting you look at the painting and you see through the painting to another world not always of course in modern abstract art you don't have that experience but that's one reason for thinking that modern abstract art is a kind of degenerate case then the central case uh painting is there to to represent something other than itself and the same is true of literature and poetry but in the the case of music this is not so although music as i say can be used to set words although it can be used to accompany a dance or to or or to present a drama in the case that really interests us where we are thinking that we're concentrating on the music in itself it doesn't represent things or if it does represent something it's only itself it is just there as an object of attention now there are cases of course where music imitates other sounds than than musical sounds in debusses la mere you have attempts to imitate the movement of the of this of the sea at various in various conditions but suppose somebody said to you that that um although he loves davises la mer he can't see any analogy with the movement of the sea you wouldn't say for that reason that he had misunderstood it you know there are many uh forms of imitation that you don't have to latch onto in order to understand the movement in the music if music were a representational art you'd have to understand the subject matter in order to understand the music i think it's very very rare that that is required that that you as it will understand the music in terms of something else and again it's not music isn't a language either it's like a language in certain respects but you couldn't use music in order to conduct a conversation when you hear in in many of the um haydn and beethoven quartets that kind of conversation-like music as though the the instrumentalists were responding to each other uh in in the way that people do when having a a friendly conversation it's not an actual conversation that you're hearing there's nothing other than the music that they are saying to each other there is no exchange of information it's just something that's very like a conversation that's going on even so of course music does have a kind of syntax that's to say there are there are rules that seem to have emerged over time which um we get habituated to and every note in music builds up certain expectations as to what will follow it and this is of course it particularly true of tonal music one of the things that worries us about atonal music is that we don't have expectations as to what will follow any particular uh note in a in a melodic line or any particular harmony in the accompanying chords but with tonal music precisely because of uh of the tonal syntax we do have those expectations so there is a a background syntax that that um we we seem to be able to grasp and it as it were carries us forward through the music and seems to be intimately connected with the meaning of the music so in that sense it's a it is like a language but this syntax is is not conventional it's the effect of use and not the cause of it you know in a language syntax is entirely arbitrary you can make your own rules and there are many artificial languages of which that is true and each language has different rules for constructing a syntactically correct sentence out of the parts of it but in music it's not conventional there is something natural about the syntax that has emerged over the centuries in tonal music it wasn't uh somebody's choice to um to create the relation between the dominant seventh and the tonic which makes the tonic such a natural successor to the dominant seventh that's something that we have learned to hear and if you try and re remake the code so that that particular convention that particular syntactical rule is um denied you'll find that you your audience won't follow you so it's a it's like a syntax in in a way like the syntax of a language but not conventional but um there is nevertheless this um a form that emerges from the use of this syntax a musical form is one of the most important features that interests us in these uh so-called absolute in this so-called absolute music music which is there for its own sake and is not applied to anything else and as in architecture the parts of music answer to each other leon crea's lecture showed us some very wonderful examples in his inimitable draftsman style of of architectural elements in which the parts and enter into relation with each other but by altering the dimensions and so on the relation is is in some way distorted but another meaning entirely begins to attach itself to the architectural form but without the meaningful parts the architectural form would have no meaning at all and it's because there are moldings that you can divide a wall into meaningful areas and see whether they correspond to each other proportionately it's because a column has a capital a base and and all the moldings around them that you can understand the relations between its parts and obtain the sense of harmony between them and i think that's one of the great errors just to add to what leon said one of the great errors of modernism is to think that you can understand architectural form without the meaningful parts from which it is constructed from which the building is constructed on the country you end up with buildings which because they have no meaningful parts have no shadows with which to measure them and i think something similar is true of of music it's musical form isn't just an overall some kind of liquid assembly it it arrives it's generated bit by bit from meaningful details and so it is only there because we have this syntax which enables us to understand the parts but there is a mystery of course as well to musical form it's not just a matter of following certain rules the the traditional forms of music were constructed according to rules there's a rule for constructing a perfect sonata form movement there's a room their rules for constructing fugues and so on but it doesn't follow from the fact that you are obeying those rules that the resulting piece of music will have real musical form clementi's sonatas and sonnetinas which all of you learn uh when you begin learning the piano are full of perfect perfect sonata form uh movements which are deeply formless you know there's nothing that happens in them there's no real tension built up at the beginning which takes them through to the end but you know they're charming and very useful for piano teachers um but in scarletti you have this default these defiant violations of of musical uh of the traditional forms those little sonatas of his which uh seem from the technical point of view entirely formula performance nevertheless our perfect little miniatures perfect perfectly formed in the sense that everything given at the beginning takes you inextricably through to the end and there isn't a redundant element in it and this is true two of the great formal masterpieces like the sonata movements of bruckner in the in the his symphonies but there there can be formal perfection also without conventional form when there are when there is no reference to any particular system of rules for generating a musical movement uh as in the three movements of division each of which is formally absolutely perfect uh in in the sense that i'm intending but has no real reference to the traditions of of musical structure similarly beethoven's late c-sharp minor quartet so why should we be interested in form in this case and this is um the one i think this is a deep question which which is extremely relevant to the the whole idea of a listening culture when you go to a concert to listen to something um it's not just you're not you're going to a concert not just because it's live music and otherwise you'd only get it in on your ipad or whatever you're going because partly because the form seems so much clearer when you can engage with your eyes and with your sense of space with the individual components the individual musical lines that go to compose it i think this is one of the most important aspects of the listening experience when you're in the presence of the players that that in some way you you both see and hear and are surrounded by this coming together of separate currents of energy in a comprehensive form and this interest is not it's not just simply a result of taking an ascetic attitude of you know in other words of of um attending to the thing it's a it goes deeper we have a deep interest in in form we require the parts in a work of music to answer to each other and as i said part of the disaster of modern architecture lies here it reminds us um that we are at home with form but we're at sea with the formless and if you look at this city which you're familiar with you you have a very good example of this baltimore is one of the few american cities that hasn't been yet entirely destroyed it's got another five or six years of life and you know you've got whole sections of the street where you see buildings that were made all very different sizes and different different materials but all attempting to produce form out of matching parts out of parts which respond to each other then interrupted by utterly formless blocks which have bulk but no detail and we're not at home with those other things so form seems to be a a fundamental need of the of the human psyche uh why is this well just a very rough suggestion which is that our lives are incomplete you know that we we are constantly embarking on things adventures just or just a walk around the block or a conversation with a friend or something bigger like a love affair or whatever we embark on these things and it quickly dissipates in in chaos or incompletion you know something interrupts it nothing nothing comes to properly to an end then as a sense invades us of of the futility of things you know i should have done that properly i didn't bring it to a conclusion it is simply uh the the ragged ends of something that i i began but couldn't actually uh really uh bring to any uh effective conclusion but in all our everything we do we're aiming to get somewhere but we never seem to arrive somewhere but perhaps one one of the things that art can do us is to provide us with a destination when we enter a work of music so to speak uh we're taken up by it and it's moving us towards a destination of its own and because in deep some deep sense we're we're identifying with the movement in the music we hear it uh as bringing to completion the gestures that that are originated in us we follow these gestures uh and episodes to their completion there's a sense that after all these uh ragged ends of human life don't have to be just ragged in that way they could in in some ideal world find a conclusion of their own and that we are similarly beings who do have it within us uh to arrive at our destination uh and um you know there are you can think of your own examples of that but very um for to me a very effective example is the first movement of brahms's fourth symphony which starts off with um a very obvious gesture of a um a descending third followed by a rising six [Music] right just a gesture like that but then it grows out going out of that gesture is another one of the same kind and then you gradually realize that this gesture has penetrated the whole orchestra and has taken on a life of its own and moves through successive blocks of thematic material until uh finally it reaches its inevitable uh fulfillment ten minutes later so we we also have a as well as our desire for form we have this a hunger for meaning music as i said earlier it's not sound it inhabits sound in something like the way that a face inhabits a picture it's there in the sound we could we hear the movement in the sound through entering that imagined space but the music itself judges a physical object um and what we're hearing it just as a physical object is just sound but the music is not that sound it's the thing that we hear in it so we're always listening for something that speaks to us through the music a kind of disembodied voice in an imagined space and that voice is in the world but not of it to use the the um religious language it is speaking to us but not from any space in which we ourselves stand right nevertheless we we judge it beca if we're listening hard we want to know is it saying something serious and if it's serious from what psychic region does it come and we have the impression often that that truly serious music has as it were put its ear to the ground and heard the far-off murmur of the infinite and that's what the kind of experience that you have obviously from things like the openings of the brookner symphonies and the famous opening of beethoven's ninth symphony which um the music is saying look something is speaking through me from from far far away and you must put your ear to the ground just as i am doing this um connects it in my view with our experience of each other um when we to understand an experience of course is not necessarily to justify it but we still have to understand this experience that we get from music and one way of understanding it is to see its relation to our everyday experience of each other and what i'd want to say is that the reaching for the transcendental is actually an everyday event for human beings it isn't something unusual because it's what we're doing all the time with each other when i encounter another person as i encounter you you encounter each other whether in conversation or or just simply standing and looking at you i have a sense that there is a kind of barrier between between me and you there there you are looking at me speaking at me but of course the thing that you really are the the the i behind so so to speak that barrier is not something that can ever be made visible or or tangible to me and yet i'm constantly reaching out to try and uh take possession of it try to to uh to be in proper in full contact with you and i i too stand behind such a barrier i know that you're looking at my my face and you're listening to my words but i know that in some deep sense you can't actually uh enter that space from which i address you but we have to reach across this barrier um otherwise what what is the point of human life everything everything that we do and hope for depends upon crossing that barrier to the other and being at one with him or her so we do reach across it and when we're doing things together of the right kind we can forget that barrier we have a sense in communal activity that the barrier has dissolved and the the various eyes have melted into a we and i think this this especially this dissolving of the barrier between us occurs especially in our shared attention to the no place as in the religious experience when we're we're all attending to the altar that no place which is a place nevertheless uh and um i suspect that something similar is going on also in the concert hall in our communal assault on the silence but that begging and to it to make itself known the music is as we're speaking for us in assaulting the the silence that has been created in the concert hall and we are with it uh in um trying to get through to what it is that's speaking through that silence so i think that this sense that there is a a transcendental uh voice that that can as it would be engaged with and and entered into communication with that we find in music is something which has its origins in our our everyday need for each other and that's part of its significance for us um now i i think um i say a little bit more i've got i think more material than i can possibly uh present to you but i shall carry off a bit more um we're all familiar with the fact of human sympathy that we can be at one with another person in his joy or grief uh and likewise we can feel sympathy for animals for nature itself we can be at one with the natural world in the sense that we feel that a harmony between our emotions and our our will our desires and the the context that surrounds us and that inspires those things in us and when i feel sympathy with another person as it were enter into his his state of mind i know what it's like to feel as you do i don't necessarily know how to put it into words but uh often in extreme moments of sympathy especially those which are of real value to us we have this sense of of um knowing from from inside what the other person is feeling and there is a kind of vindication of our own life in that the fact that that is possible brings home to us the other dimension of our being where we are one with those and music can do also show us what it is like to be in a condition for which we have no words in uh fidelio uh the uh the when um the uh marianora and florestan have have finally are finally aware of each other's presence that they sing that famous duet narman les of freud nameless joy in which um the music really does express a joy of a kind that no words could possibly capture and indeed probably of a kind that only somebody as solitary as beethoven could think really exists um but nevertheless the music as it were gives us that first person perspective on this uh otherwise unknowable thing and in a similar way much music reaches towards the transcendental um reaches as it were beyond the limits of this world to the things to the kind of archetypes from which we think our own feelings and states of mind have descended and perhaps this shared moment of reaching towards the transcendental is what we ultimately wanted from music now that is one of the the real questions is that so um well i will conclude with a with um an intro a philosophical my feelings are directed from from the eye towards the you okay this is this is what philosophers call an intentional relation not a material relation i feel uh maybe fear love shame whatever towards you and it may be that i feel this even though you don't exist because unknown to me you've you've been killed or whatever but still my feeling is there the feeling is a going out towards the other which doesn't necessarily depend upon the others existence or anything that's going on in the other and this feature of our states of mind their intentionality is something that philosophers regard as uh as in many ways marking out the human condition from everything else in in the the universe that here we have these extraordinary conditions that we undergo which are not which are somehow incomplete they're reaching out from us they're unsaturated they're looking for the object that will fulfill them and complete them and we have this sense all the time with each other uh that that we're reaching out in that way but i think we have this in music too we when we're listening properly in in a sense that in the conditions where we are surrounded by others doing likewise and imagining that that space in which the music moves under impasses of its own we hear the music not as just as moving as a physical object might move but as having intentions of its own reasons of its own it's got a reason for going from c to e flat um just as we might have it is it is a kind of master of its imagined space and important works of music exhibit in that way a kind of freedom and completeness to which we aspire in our own lives which we don't obtain and for this reason i think we think of music as having an aboutness of its own it's not just there a a movement of sounds in an imaginary space it is itself responding to something that we can't directly perceive or know in just the way that uh we can't directly perceive or know each other it if you like it's a source of feeling which belongs to it so it's as though it is um it is about something even though it's not something that we could ever ourselves engage with or know directly and i think it's through this feature of music that it has this capacity to lift up our hearts it takes us into a world where we too can imagine uh being complete in our own uh emotions taking all our emotions to their conclusion and rejoicing in them uh as they are and that i think is perhaps the experience the most important experience of the concert hall and one which which is threatened wherever the listening experience is threatened by invasion from the the noise that surrounds us so i i would say i'd give these as my philosophical reasons for thinking that music not not just that it is a gives us a sense of the transcendental but that it is a part of our lives that that fulfills us and depends upon the whole symphonic uh concert hall tradition in order to be the thing that it is

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Length: 50min 35sec (3035 seconds)

Published: Sat Mar 27 2021