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Analytical and Historical Considerations

of the Ballet “Estancia”

by Argentinean Composer Alberto Ginastera

by

Norman Gamboa

Argentina, the second largest country in South America, is one of the richest cultural territories

in the region, its music encompasses a wide range of styles, from the European to the indigenous

and everything in between. Settled by the Spaniards as early as the sixteenth century, the country

continued experiencing a steady migration of Europeans over the following centuries, thus

giving Argentina its unique South American character and flavor. It’s not surprising that

Argentina’s leading musical figures continue to find great sources of inspiration for their

creations. Many of the most favored musical forms come from traditional folk dances that trace

their origins from different parts of the country; they display a large variety of Western European

and local indigenous traits. Some of the most regarded dance rhythms include the candome from

the northeast region, the carnavalito from the northwestern Andean Plateau, the Colombian

originated cumbia, the creole dance malambo from Buenos Aires, the media caña, also from the

Buenos Aires area, all three types of the polca: formal, correntina and the polquita rural

(formal, traditional and little polka), the coastal dance rasquido doble, and of course the

internationally revered tango.

As in most of the entire South American region, evidence of musical activity from the sixteenth

century to the early 1800s is rather scarce; a few records left by Jesuit missionaries prior to their

expulsion in 1767, indicate that during these early times music played an important role in the

catechization of the indigenous population, mainly tribes along the Paraná River area and in the

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region of La Plata in the northern lands of Argentina and Paraguay. The main forms employed

were plainchant and simple liturgical polyphonic songs.

With the designation of Buenos Aires as the Capital of the Viceroyalty of the La Plata River by

the Spanish Crown in the late 1700s, all important musical activity shifted from its previous

center in the city of Córdoba. Many notable opera houses began to appear including the Teatro

de Operas y Comedias, Teatro de la Ranchería, the Coliseo Provisional, and the Teatro Porteño

(later renamed as Teatro Argentino). This rapid musical growth led by an influx of European

operas during the seventeenth century served as cradle to many distinguished figures of the

Argentinian musical scene in the XIX century.

Part I. A Brief Overview of the Music in Argentina

The Nineteenth-Century in Argentina

The first half of the XIX century was characterized by a new sense of individualism and the

desire to cultivate the human soul, this as a form to break away from the dogma and the rigidness

of the church. Literature, theater, music and all other artistic manifestations began to lean

towards the true everyday language of the common man, his personal vicissitudes and

uniqueness, taking life in the Argentinian pampa (plains) and transplanting it onto the stage,

combined with a skillful fusion of European traits but without becoming a mere style imitation,

gradually evolving into the newly born Argentinian nationalistic style.

It is during the early 1800s that the revolution of 1810, known as the May Revolution, took place

and drastically changed the history of Argentina and altered the course of music. As a result,

Blás Parera (1776-1840) composed the National Anthem in 1810 and the first musical society is

born, known as the La Sociedad del Buen Gusto del Teatro (The Society for the Discernment of

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Theater), created in 1817 as regulatory entity for all theatrical and musical performances. It is

also in this early part of the XIX century that the first group of Argentinian born composers

emerged, though not musicians by profession, these forerunners contributed to the raise of the

next generation of professional composers and performers. Three notable figures among them

include Juan Bautista Alberdi (1810-1884), Juan Pedro Esnaola (1808-1978), arranger of the

Argentinian National Anthem, and Amancio Alcorta (1805-1862). What is more, the first

conservatories and other musical institutions were created during this period; including the

Escuela de Música y Canto (School of Music and Singing) in 1822, the Sociedad Filarmónica

(Philharmonic Society) in 1823, as well as the Opera del Teatro Victoria (Victoria Theater Opera

Company) in 1838. During this time the most favored music genres by the discerning part of the

population were salon music and popular songs, and in some rare instances chamber music was

also performed.

As the XIX century progressed, two new opera houses opened, the first Teatro Colón which

remained in operation until 1888, was built between 1855 and 1857 and also the Teatro de la

Opera in 1872. The appearance of these two new performance venues provided the ideal ground

for the premiere in 1877 of the first opera written by and Argentinian composer; La Gatta Bianca

(The White Cat) by Francisco Hargreaves (1849-1900). Other smaller operas of lesser

significance based on local subjects were also introduced alongside with the traditional European

repertoire, such was the case of La Indígena by Wenceslao Fumi, for the most part written in the

current style of the opera composition.

Along with Hargreaves, a number of other individuals began to leave an important mark in the

musical arena of Argentina, this school of composers led by Alberto Williams (1862-1952),

Julián Aguirre (1868-1924) y Arturo Berutti (1858-1938). This generation of musicians was

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followed by other distinguished European trained composers born between 1875 and 1890, these

new artists returned to the country to promote an important activity as creators, teachers, and

leaders of institutions and music societies. As part of their formation they explored a variety of

genres and adopted a more conscious attitude in terms of the local folklore. Some of these

illustrious musicians are Felipe Boero (1884-1958), Ernesto Drangosch (1882-1925), Floro

Ugarte (1884-1975) and Carlos López Buchardo (1881-1948), founder in 1924 of the

Conservatorio Nacional de Música y Arte Escénico (National Conservatory of Music and

Theatrical Arts).

Music making in the early XX Century

During the first part of the 20th century Argentinean music continued to be dominated by a

strong nationalist movement. Composers favored a number of national folk elements ranging

from the pure use of traditional and popular sources to a more elaborate integration of the folk

material. Gradually, the musical scene in Argentine begins to evolve despite the prevailing

conservative current and the preferred the importation of European music, in this case, mostly

Italian opera and Spanish zarzuelas. Music continued experiencing a steady transformation and

the gap between composer and the everyday man became even narrower, shaping a unique

fusion of the new compositional trends in Europe with the rich Argentinian folklore, including

styles such as Neoclassicism, Expressionism, Impressionism, and Primitivisim, finding a fertile

ground in an emerging and eager society.

The rapid growth of the musical activity throughout the nation during this period soon caught the

attention of the government; the National Bureau of Fine Arts is created as a dependency of the

Ministry of Justice and Public Instruction, and formal research and publishing of Argentinean

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ethnomusicology, indigenous and European, is financially backed through the Instituto de

Literatura Argentina of the University of Buenos Aires.

The number of notable composers that throve during the first part of the XX century is

significantly large, they encompassed every possible musical thought, ranging from the radically

conservative that closely adhered to either the indigenous influenced styles or to the imported

European currents, to the most avant-garde musicians. All of them, regardless of their views,

gathered under the same group known as the Liga de Compositores de la Argentina (League of

Argentinean Composers), this local organization served as branch of the International Society for

Contemporary Music. On the other hand, Juan Carlos Paz (1901-1972), a radical atonalist and

great admirer of the Second Viennese School of composition, founded the Grupo Renovación

(Renovation Group) in 1929 and later established a new more progressive assembly called

Agrupación Nueva Música (New Music Group) in 1944.

The New Generations

After the 1930s, new composers began to face out the dominance of the Nationalist movement in

music and turned their attention towards Neo-classical forms. Much had been exploited on a

nativist approach and now music needed to follow a new path by following new models: atonal;

aleatory and microtonal structures as well as post-Webbern serial music began to take center

stage. Among these, the ground breaking works by Juan Carlos Paz, Roberto García (1911-2003)

and Roberto Caamaño (1923-1993) are fine examples of these new trends.

In 1958, the Latin American Centre for Advanced Musical Studies at the Instituto Torcuato di

Tella of Buenos Aires was created, it main focus was the advancement of modernist trends in

various art disciplines. This institution greatly benefited numerous young composers from all

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over Latin America. By the 1960s, Argentina experienced a substantial migration of talent, many

composers had established residence abroad convinced that their country did not provide a

suitable musical environment that would allow for professional growth, among them Argentine-

American Antonio Tauriello (1931-2011), Argentine-Canadian Alcides Lanza (b. 1929),

Argentine-American Mario Davidovsky (b. 1924), German-Argentine Mauricio Kagel (1931-

2008), Armando Krieger (b. 1940) and Gerardo Gandini (1936-2013). Three of the most

representative works by this school of composers are Música III for piano and orchestra (1965)

and the opera Les guerres picrocholines (1971) by Turiello, both employing the use of

electronics and aleatory structures, also the eclectic study of fragmentation and superimposition

Fantasía Impromptu for piano and orchestra (1971) by Gandini.

Throughout the 20th century, several associations emerged in support of Argentine music, these

included the Asociación Argentina de Compositores (Argentine Association of Composers) in

1915 as well as the Asociación de Jóvenes Compositores de la Argentina (Association of Young

Composers of Argentina) in 1957. In addition, composers had the patronage of important

national music publishers such as Editorial Argentina de Música, Ricordi Americana (a

subsidiary of Casa Ricordi of Italy), Agrupación Euphonia, and the Consejo Argentino de la

Música to name a few.

Part II. Alberto Ginastera

Biographical Sketch

Born in Argentina on April 11th, 1916, Alberto Evaristo Ginastera is considered one of the most

prominent Argentine composers of the twentieth century. His father, also named Alberto

Ginastera, was a Catalan immigrant, and his mother Luisa Bossi was from Lombardy, Italy.

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There is not known musical background in the Ginastera lineage, instead, they worked in

farming, and trade. Young Alberto began his music studies at the age of 7, enthused possibly by

recordings played at home and street performances of tangos and waltzes. To fulfill his father’s

wishes, he entered in 1930 at the Escuela Superior de Comercio de la Nación, a technical school

for business and trade, this while taking music classes at the Music Conservatory of Alberto

Williams where he had his first lessons in piano, harmony, and composition. During this time

Ginastera regularly attended live performances of contemporary orchestral repertoire, including

the Argentinean premiere of La Sacre du Printemps by Igor Stravinsky (1882-1971), which in

his own words as he recalled years later, “La Sacre was like a shock — something new and

unexpected. The primitivism of the music, its dynamic impulse and the novelty of its language

impressed me as the work of a genius.” This primitive element played a vital role early in his

career, inspiring his own musical style, a trait that later became the true expression of the

nationalistic Argentine tradition.

Ginastera as a Composer

Far from a child prodigy, for Ginastera the creative process was not an easy one, his works are a

product of an assiduous painstaking process and numerous conquered obstacles. Despite this, his

compositions began to obtain significant esteem; in 1934 he was awarded a prize for his Piezas

Infantíles for solo piano, followed by an honorary mention by the National Commission of Fine

Arts for his Impresiones de la Puna for flute and string quartet.

In 1936 Ginastera continued his studies at the National Conservatory and it is here when he

began to draw elements from the Latinization of urban Argentina, which consisted in the

exploration of the folk-music heritage that focused on the idealized figure of the Argentinean

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gaucho (cattleman), while combining it with components from the French and Spanish

Impressionism as well as with the earthly sounds found in the works by other composers such as

Stravinsky, Béla Bartók (1881-1945), and Manuel de Falla (1876-1946).

In the orchestral arena, Ginastera first acquired notable success with the patronage of Juan José

Castro, a renowned Argentinean conductor known for his affinity towards contemporary music

who commissioned him to write an orchestral suite of his ballet Panambí which was premiered

to great acclaim on November 27, 1937 at the Teatro Colón, thus launching Ginastera’s prolific

career. The suite Panambí presents bold similarities to Stravinsky’s primitive accentual patterns

in La Sacre du Primtemps, however these elements are infused with Argentine rhythmic

characteristics, including a sizable percussion section that features a number of native

instruments as well. Ginastera later described his output as “an attempt to revive the

transcendental facets of the pre-Columbian world,” attempting to present all the musical

elements from his own land through the technical processes that are of universal appeal.

At the young age of 24, Ginastera is already a well-respected composer, his complete ballet

version of Panambí had it successful premiere and later his Sinfonía Porteña is premiered to

positive reviews (later withdrawn from his opus by the composer himself for considering it to be

of a lesser quality). In 1941, the American Ballet Caravan (today the School of American Ballet

at Lincoln Center) commissioned Ginastera a new ballet, an ideal opportunity for the composer

to present his music before a broad international public and the chance to collaborate with an

organization that shared his ideas of creating art that embodies the true spirit of the land. In

response, Ginastera produced his most celebrated work, Estancia, a ballet in five scenes based on

the Argentine countryside life depicting the various farm duties during the day at an estancia

(cattle ranch) and the “gaucho” tradition.

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In his second period, Ginastera turned to a more “subjective nationalistic style” as he called, his

works reflected a more universal language and created an Argentine atmosphere through the

employment of his own thematic and rhythmic elements. One of the most representative pieces

of this period is Variaciones Concertantes, Op. 23 of 1953. The work opens with an original

theme that is followed by a set of eleven variations, each bearing a distinctive character that

showcases each one of the instruments featured. Some variations are rather traditional in their

form, purely decorative, ornamental or elaborative, while others take elements from the main

theme and transform them into new material. In his later years or third period which he called

“neo-Expressionism,” Ginastera devoted his attention to the exploration of greater dissonances,

experimentation with serial forms, large-scale symmetrical works, and magic surrealism. He also

developed during this period an interest for opera which led to the creation of two important

operas, the first one Don Rodrigo (1964), introduces Ginastera’s affinity for the traditional

Italian operatic model that he masterfully blended with a wide range of contemporary music

techniques. Following the structure of Wozzeck by Alban Berg (1885-1935), he irregularly

employs in Don Rodrigo numerous dodecaphonic procedures and multiple row forms that

function as thematic characters or leitmotivs. His second opera Bomarzo, completed a year later,

may be considered as an extension on the composer’s principles on dodecaphony, serialism and

symmetry first exposed in Don Rodrigo.

All through his career, Ginastera demonstrated a natural capacity to mold his music according to

the current cultural demands; from purely nationalistic forms of the Argentinean tradition to the

most avant-garde musical relationships and symbolism. His ability to engage at the various levels

of the compositional spectrum is what has undoubtedly contributed to the widespread praise of

his works.

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Ballet “Estancia” Op. 8

Since childhood, Ginastera was deeply enamored by the Argentinean cattle ranches or

“estancias,” he once said: “Whenever I have crossed the Pampa or have lived in it for a time, my

spirit felt itself inundated by changing impressions, now joyful, now melancholy, some full of

euphoria and others replete with a profound tranquility, produced by its limitless immensity and

by the transformation that the countryside undergoes in the course of a day.”

After the success of his first ballet Panambí, he decided for his new ballet to pay homage to the

“gauchesco” tradition; a celebration of the endless beauty of the land, portraying the daily doings

of a cattle ranch and using the poem Martín Fierro by Argentine writer José Hernández (1834-

1886) as a source of inspiration.

The ballet Estancia, Op. 8 is orchestrated for a relatively modest size ensemble with a large

percussion section, it includes two flutes (the second doubling on piccolo), two oboes, two

clarinets, two bassoons, four horns, two trumpets, percussion (5 timpani, bass drum, tenor drum,

cymbals, triangle, tambourine, castanets, tam-tam, and xylophone), piano, and strings. It was

commissioned in 1952 by Lincoln Kirstein and the Ballet Caravan Company (a predecessor of

the New York City Ballet) and by recommendation of choreographer George Balanchine (1904-

1983).

With it, Ginastera succeeded in rendering a true musical representation of time’s ineluctability

and symmetry. The ballet takes us from dawn-to dawn, going from “Amanacer” to the

celebrations with the frantic final dance “Malambo.” Sung and spoken verses from Hernandez’s

Martín Fierro are inserted between the various dances and scenes, underlining Ginastera’s

concept of continuityas seen in this line from the epic poem: “Pa’ empezar el día siguiente las

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fainas del día anterior” (ready to start the next day where you stopped the day before). In

addition, the plot also observes the arch-like structural symmetry of the composition; in the story,

a city boy falls in love with a country maiden that despises him until he is capable of

demonstrating his ability of properly executing the demanding tasks of the cattle ranch, including

taming wild horses and of course, the always required intense spirited dancing.

Comparatively speaking, Estancia is significantly shorter than many analogous better-known

ballets from the XX century, including those by celebrated composers such as Stravinsky, Sergei

Prokofiev (1891-1953), and Maurice Ravel (1875-1937). Despite its relative smaller size, the

ballet succeeds in creating a perfect musical idea of the gauchesco tradition by endowing it with

all its fundamental elements: bravery, intensity, and unbridled passion.

Part III. Analytical Annotations on Alberto Ginastera’s Ballet “Estancia” Op. 8

First Scene

In the first tableaux, El Amanecer and Pequeña Danza, Ginastera used the particular features of

the guitar to depict the character of the gaucho; it can be perceived as a type of “leitmotiv” he

systematically continued favoring in several other works. The pulsating rhythm symbolically

represents the native Argentine heritage, its earthy feel serves to illustrate the rite of the dawn.

Numerous displaced accents, vertical hemiolas, and the repetitive stamping chords in the strings

bear a resemblance to the primitive idiom contained in “Les Augures Printaniers”” from

Stravinsky’s Le Sacre du Printemps:

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Figure 1. Opening measures from “Les Augures Printaniers” from La Sacre du

Printemps by Igor Stravinsky. Dover Publications, New York.

Figure 2. Opening measures from Estancia, Op. 8 by Alberto Ginastera. Barry

Editorial, Buenos Aires.

Here, the opening verse of Martín Fierro is interpolated in a spoken form and accompanied by

the piano at the beginning of El Amanecer: “Aquí me pongo a cantar al compás de la vigüela,

que el hombre que lo desvela una pena estrordinaria como la ave solitaria con el cantar se

consuela.” (Here I come to sing to the beat of my guitar, because a man who is kept from sleep

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by an uncommon sorrow comforts himself with singing, like a solitary bird). Next, the Pequeña

Danza is a short malambo which is a man’s solo dance with improvised footwork. This dance is

preceded by a second quote from Martín Fierro: “Yo he conocido esta tierra en que el paisano

vivía y su ranchito tenia y sus hijos y mujer... Era una delicia el ver como pasaba sus días.” (I

have known this land when the working-man lived in it and had his little cabin and his children

and his wife... It was a delight to see the way he spent his days).

Second Scene

The second tableaux contains five short dances and is introduced by a third lengthier spoken

verse: “Entonces... cuando el lucero brillaba en el cielo santo, y los gallos con su canto nos

decían que el día llegaba, a la cocina rumbiaba el gaucho... que era un encanto. Y sentao junto al

jogón a esperar que venga el día, al cimarrón le prendía hasta ponerse rechoncho, mientras su

china dormía tapadita con su poncho.” (Then... when the morning star as shining in the blessed

sky, and the crowing of the cocks told us that day was near, a gaucho would make his way to the

kitchen... it was a joy. And sitting beside the fire waiting for day to come, he'd suck at the bitter

mate till he was glowing warm, while his girl was s1eeping tucked up in his poncho). This scene

reveals the sentimentalism of the salon music, a fashionable European style charged with post-

Romantic national fervor. In it, Ginastera skillfully blended the use of the Guitar Chord, which is

a highly favored reference to Argentine folk music and a trademark of Ginastera's early works.

As Carlos A. Gaviria states: "In these earlier pieces, the guitar chord is usually presented in its

original form... ...and its presentation is usually an isolated event never followed by any further

development of the sonority."

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Figure 3. Open strings on the guitar and guitar chord

On the other hand, one perfect example of the use of the salon music style in conjunction with

the Guitar Chord can be observed in the Danzas Argentinas No. 2, Op. 2 for piano, in it the left

hand plays a transposed arpeggiated version of the Guitar Chord while the right hand performs a

highly expressive melody:

Figure 4. Excerpt from Danzas Argentinas No. 2, Op. 2 by Alberto Ginastera.

Ricordi, Buenos Aires.

In the Danza del Trigo, Ginastera employs this mix of styles; the strings and piano are in charge

of the arpeggiated Guitar Chord while the flute gracefully interprets a variation of the dreamy

theme composed in 1937 for his Danzas Argentinas, Op. 2:

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Figure 5. Opening measures from “Los Trabajadores Agrícolas” from Estancia,

Op. 8 by Alberto Ginastera. Barry Editorial, Buenos Aires.

The scene then continues with Los Trabajadores Agrícolas by means of another verse that

functions as a bridge, making allusion to the start of the daily duties at the ranch: “Y apenas la

madrugada empezaba a coloriar, los pájaros a cantar y las gallinas a apiarse, era cosa de largarse

cada cual a trabajar.” (And just as soon as the dawn started to turn red, and the birds to sing and

the hens come down off their perch, it was time to get going, each man to his work).

The Los Peones de Hacienda — Entrada de los Caballitos is a dance of great intensity and

complex rhythmic activity that depicts the tough identity of the cattle worker. Composed in

compound mixed meters 3/8, 5/8, 7/8, 9/8 and occasionally 3/4, it is written in a low tessitura,

relegating all high pitch instruments for the mid climatic section and again for the very end.

Los Puebleros is the last dance of the second tableaux, it loosely resembles the Pointillistic style

or Klangfarbenmelodie where notes are written in seclusion and the musical line is distributed

among different instruments. In this instance, Ginastera chooses to assign the core of the dance

to the part of the orchestra of higher tessitura, thus creating a delightful and well-balanced

contrast with the previous dance.

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Third Scene

In the third tableaux, La Tarde — Triste Pampeano we find a ballad of deep emotion and

pronounced distress, evoking open meadows and distant horizons; here, Ginastera borrows

material from Book VI of Martín Fierro and turns it into a recitative-like form while the viola

and violoncello in unison deliver an exquisite and highly representative word painting melody

that contributes to the enhancement of the gloomy mood of the poem: “Vamos dentrando recien

a la parte mas sentida, aunque es todita mi vida de males una cadena — a cada alma dolorida le

gusta cantar sus penas.” (Now we're just coming to the saddest part of the story, even though the

whole of my life is nothing but a chain of troubles – every unhappy soul is glad to sing of its

sufferings.). A climatic section is reached as the vocal part becomes less declamatory, the sad

connotation of the words further heightened by the music, raise and become even more agitated:

“Triste suena mi guitarra y el asunto lo requiere; ninguno alegrías espere sinó sentidos lamentos,

de aquel que en duros tormentos nace, crece, vive y muere.” (Sad sounds my guitar as it is

appropriate for the occasion; no joy awaits and only laments, of him who in harsh torments is

born, matures, lives and dies).

In La Doma (horse-taming rodeo) the music continues its symmetrical arch, returning to high

energy and restless rhythmic activity in a forceful “toccata” character, employing a number of

traits and thematic material from the malambo style dance found earlier in Pequeña Danza

during the first scene. The tableaux closes with a heartfelt slow theme Idilio Crepuscular

(Twilight Romance) based on pentatonic scales which emulated the folk styles of the Andes

region and the Argentinean northwest, permeated with inflections from his own enriching

expressive inspiration.

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Fourth Scene

The tableaux IV opens with a night scene or Nocturno of mystical sounds. Here the vocal line

reappears with first with vocalizations that underline the pampean nocturnal sounds mimicked by

the orchestral instruments. Here, another verse from Book IX of Martín Fierro is inserted,

lamenting the loneliness of the gaucho: “Bala el tierno corderito al lao de la blanca oveja y a la

vaca que se aleja llama el ternero amarrao; pero el gaucho desgraciao no tiene a quién dar su

queja.” (The little lamb is bleating by the side of the white ewe, and the tethered calf calls out to

the cow as she moves away – but a gaucho in his misfortune has no one to hear him cry).

Fifth Scene

Finally, tableaux V contains two sections, the first one El Amanecer, which is a short scene that

evokes the awakening of the pampa in all its morning splendor; the music is an unassuming slow

dialogue between the piano and the woodwinds heard over a thin layer of sustained sounds in the

strings. Last, the Danza Final Malambo was first composed as a solo piano work by Ginastera a

year earlier, the vigorous character of it became a trademark he often used in the closing

movements of many of his works. Ginastera’s concept of the “zapateo” element of the malambo

is a swift dance in a hasty 6/8 meter with a continuous eight-note percussive ostinato motion and

interpolated quarter-notes, or a pattern of successive eighth-notes with hemiola accents in groups

of threes. Although his formula for the malambo makes use of parallel added-note chords to

achieve a rustic quality, including melodies in thirds and sixths, a traditional element in the

Argentinean folk language, the dance itself offers almost no similarities with the actual folkloric

models.

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Figure 6. Excerpt from Malambo, Op. 7 by Alberto Ginastera. Ricordi, Buenos

Aires.

Conclusion

It is through Estancia, that Ginastera managed to give to the world a faithful representation of the

arduous day-to-day life of the gaucho in the Argentinean cattle ranch. He delivered a complete

portrait of the vast pampa; its literary connotation and the historical value can be measured

though the ingenious quotes from Argentine’s pinnacle epic poem Martín Fierro, supplying a

linkage to the gaucho tradition and its importance in the development of the country and the role

it played in the making of a true national identity. Musically speaking, the ballet is also a

window to the Argentinean folklore and to the music forms in vogue at the turn of the XX

century. Estancia is a timeless testament of a type of life that no longer exists, a lament to the

solitude of the cattleman and his quest for everlasting love and bliss.

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