 Barbara, Liszt is one of your guys. I mean, this man, you love him so. I do love him, yes. How did it happen? I think you even converse with him, is that right? David, don't make me wacko, but you know, every pianist I think who studies Liszt music, you love what the man could do with the piano. I mean, besides reading about this wonderful charismatic personality where people flock to him and I mean, he aroused such enthusiasm, but it's the joy and the passion that he had for the instrument. And I have to confess, when I was younger, I kept wishing I had been born 150 years ago so I could have gone to Weimar and sat at his feet or could have been one of those beautiful ladies who flocked around him. But the past three years I have been living with this man because we started this DVD series where I immersed myself in his letters because this is a personality who is so misunderstood, musically as well as personally. And this was a man who was so religious and spiritual and generous. I think people forget the generosity of soul and even when he did these wonderful theatrics as his, he felt that he was getting his inspiration from a higher source. It was always about going beyond him. I would actually in all ways agree with you, wouldn't you, Marco? Absolutely. Rex, you know what Liszt means to you, you love him so. This is a man that probably, I'm doing a lecture at Juilliard next Monday, four-hour seminar on Liszt. The title is The Greatest Life Ever Lived. Well, he had 10 lives. 10 wondrous lives and you know, someone would say, how could he have been so great because Toscanini, the son-in-law of Horowitz, Horowitz would always say, why don't you play more Liszt, the symphonic poems, you only play Le Prelude, why don't you do that? Oh, I don't like Liszt, the man. And he said, why, what does that have to do with it? He said, oh no, nobody could be that good. That no one could be that good. He was never good, you know. And Horowitz said, looked at him and he said, it must have been a pose, Toscanini said. And then Horowitz said something so perfect. He says, well, if it was a pose, it was a good one. So this was a man of- Certainly religious and spiritual. Spiritual and everything. Oh well, of course he became, that was, it's too complex to even go into the vastness of this man. Everyone should study something about him. Why don't you, because he doesn't write just etudes. He was very inspired by the greatest etudes of that era called Chopin's. And he then said, well, I'm gonna write transcendental etudes. And so, Barbara's gonna give you the number one, just a little overture to the cycle of 12, the whole thing, 65 minutes. Maybe seven or eight pianists in the world could do justice to the whole cycle. And then you're going to do number two, which is a real Paganini type virtuoso etude. Why don't you try? Okay, and let me, you think the number two is Paganini, but I always hear Beethoven fits because of that bop bop bop bop all of that theme. But the first one is really just a warm up for the pianist at the keyboard. It's like a overture to the whole cycle. It'll only take one minute. So we'll warm up on the piano. But I wanna tell you, it'll take many more than one minutes to play it.