The Cole Porter Songbook

Una semblanza de Cole Porter

Hace poco más de dos décadas tuve la fortuna de escuchar por vez primera las canciones de Cole Porter, y de la mejor manera: interpretadas por la maravillosa, única y divina Ella Fitzgerald con arreglos orquestales y dirección de Buddy Bregman, en una grabación clásica realizada en 1956 por Capitol Studios en Los Ángeles, en dos volúmenes. Desde entonces no me canso de oírla una y mil veces: constituye un interminable deleite.


Por supuesto que otras versiones de Porter me encantan también: las de Billie Holiday, Sarah Vaughan, Dinah Washington, Shirley Horn, Fred Astaire, Louis Armstrong, Nat King Cole o Frank Sinatra, por citar algunas de las más célebres, sin embrago, el caso es que el álbum The Cole Porter Songbook de Lady Ella, también conocida como The First Lady of Song, es quizás la mejor puerta de ingreso al inigualable y delicioso universo musical del más fino compositor de canciones estadounidense.

Una intérprete de la talla, talento y don musical como Ella Fitzgerald es efectivamente capaz de recrear, en el mejor sentido de la palabra, una obra tan sofisticada como la de Porter. No es casual, sino divina coincidencia; ambos poseen varios atributos comunes: gusto impecable, un raro sentido de la propiedad, y una especial cualidad que Porter denominaba “gracia especial” y a la que Lorca solía llamar “duende”. Sin duda, el peculiar fraseo y cadencia, límpida dicción, cálida voz bien timbrada y balanceada, rítmica, acompasada por suaves vaivenes que poseía Ella, dotada con un rango de voz de tres octavas, encajan perfectamente con el modelo musical propuesto por Porter.


Cole Porter nació en Peru, Indiana, el 9 de junio de 1891, en el seno de una familia bien educada y culta, burguesa y adinerada. Recibió educación formal en Yale College (1909-13), Harvard University (en la escuela de leyes y en música, 1913-16), y en la Schola Cantorum en Paris (1920-21).


Sus padres fueron Kate Cole, hija del acaudalado empresario James Omar (J. O.) Cole, considerado el hombre más rico de Indiana, y de Samuel Fenwick Porter, también empresario, propietario de varias tiendas de droguería en Peru, pero que no alcanzaba el nivel económico de su suegro, era aficionado a la música y un buen pianista, del que su hijo heredó las cualidades musicales.


Cole inició su educación musical bajo la tutela de su madre estudiando piano y violín, inclinándose luego al primer instrumento con el que sentía más a gusto y afín. Sus instintos líricos fueron cultivados por la avidez e interés del padre hacia las lenguas clásicas y la poesía romántica del siglo XIX.

Cole Porter en Yale

Cuando Porter estudió en Yale, escribió varias canciones para el equipo de football “Bull Dog” y “Bingo Eli Yale” (que se siguen cantando en los juegos), así como la primera comedia musical para su fraternidad y música para la Yale Dramatic Association.


El poderoso y dominante abuelo materno quería que Cole fuese abogado para administrar luego su fortuna, por eso lo empujó a la Escuela de Derecho de Harvard, sin embargo al poco tiempo Cole desistió y se cambió a la de Música para luego marcharse a Paris, después de un intento fracasado en una ópera cómica para Broadway en 1916.


Linda Porter

En el verano de 1917, poco después de concluida la Primera Guerra es adscrito a la Embajada de los EE UU en Paris donde conoce a una señora rica y divorciada, Linda Lee Thomas, con quien contrae un matrimonio de conveniencia mutua, tanto afectiva como por sentido práctico y social. Ella era ocho años mayor, sabía perfectamente y toleraba la homosexualidad de Cole y sus correrías, había recibido un millón de dólares como compensación del divorcio, una cantidad astronómica en la época, y se movía a la sazón en una esfera social y cultural muy alta a la que Porter accedió fácil e inmediatamente.

Linda y Cole Porter

El hecho de que el ex marido de Linda era abusivo y Cole era gay hizo el arreglo aún más agradable. Linda siempre fue uno de los mejores defensores de Cole y se casó con los mayores deseos de éxito; por su parte Cole permitió a Linda mantener un estatus social alto para el resto de su vida. Se casaron el 19 de diciembre de 1919 y vivieron una amistad feliz, de compañerismo, una relación pública exitosa, aunque un matrimonio sin sexo hasta la muerte de Linda en 1954.

A principios de los años 20, la pareja se dedicó a viajar con una cohorte de mayordomos y una vajilla de plata a cuestas, recorriendo toda Europa y pasando largas temporadas en sus dos residencias fijas de París y Venecia. En los circuitos sociales en que se movían -como auténticos bon vivant- pudieron conocer y tratar a figuras como Picasso, Rubinstein, Stravinsky, Hemingway, Scott Fitzgerald, Coco Chanel y Elsa Maxwell.


Las fiestas y celebraciones que organizaban durante esos años fueron elaboradas y fabulosas, incluían personalidades de la aristocracia y la alta burguesía, artistas y políticos. Se caracterizaron por su hedonismo, glamour, una gran actividad gay y bisexual, nobles italianos, travestis, músicos internacionales, y abundancia de drogas recreativas y alcohol.


Por aquel tiempo, a Porter se le reprochaba tener la imagen de rico ocioso que de vez en cuando escribía alguna canción para alegrar a sus amigos, pero lo cierto es que se tomaba la música mucho más en serio de lo que parecía, no obstante faltaban varios años para alcanzar la fama pues sus obras no eran conocidas más allá de sus amigos y círculo íntimo.

De regreso a Nueva York, estrena en Broadway Greenwich Village Follies of 1924, sin mayor fortuna. No obstante algunas de las canciones escritas para ese musical fueron usadas de manera aislada en varias producciones de Broadway y en Londres, entre ellas I’m in Love Again, que pronto empezó a interpretarse por varias orquestas hasta que en 1927 Paul Whiteman la grabó convirtiéndose en un gran éxito.


Finalmente el momento crucial para la carrera musical de Porter llegó en 1928 cuando el famoso compositor, escritor de canciones y productor musical Irving Berlin, le dijo al productor E. Ray Goetz que Porter sería el compositor ideal con el apropiado sabor francés para una obra que estaba preparando. El resultado fue Paris, un musical estrenado el otoño de ese año en el Irving Berlin’s Music Box Theater. Y como se suele decir: a partir de entonces el resto es historia. Una canción a dueto añadida mientras el show estaba de gira, Let’s Do It, se convirtió en un resonante éxito. Ésta canción junto con What Is This Thing Called Love, con una inusual progresión armónica para su tiempo, tenía un patrón rítmico aparentemente basado en cantos nativos que Porter había escuchado en Marruecos.


La que quizá fuese la más famosa o emblemática de sus canciones, Night and Day, fue interpretada por vez primera por Fred Astaire en 1932 en el musical de Porter en Boradway Gay Divorce. Desde luego, de inmediato se convirtió en un suceso aclamado por todo mundo.

Por entonces, sobrevino el show más exitoso de Porter y el primero de cinco adicionales asociado con Ethel Merman, y que fue Anything Goes, que incluyó, ni más ni menos que You’re the Top que todos cantaban y cuyo título se había vuelto infeccioso. Otras dos: All Through the Night, junto a I Get a Kick Out of You, cerraban con broche de oro.


En 1935 Porter estrena el show Jubilee que incluía dos canciones que luego se harían muy populares: Begin the Beguine y Just One Of Those Things. Al año siguiente Porter termina su musical para Hollywood BornTo Dance, interpretada por las estrellas Jimmy Stewart, Eleanor Powell y Virginia Bruce. Casi el mismo reparto participó en su siguiente obra y película Easy To Love, que incluía I’ve Got You Under My Skin cantada por Virgina Bruce.


En 1936 Porter regresa a Broadway con otro show: Red, Hot and Blue!, con Ethel Merman y Jimmy Durante como coestrellas y en el papel estelar una promesa juvenil llamada Bob Hope. Sobresalen las canciones Riding’ High y la magnífica como divertida It’s DeLovely.


En 1937 Porter sufre un accidente cuando montaba a caballo que requirió treinta operaciones a fin de evitar que le amputaran las piernas, lo que a la postre fue un continuo dolor y sufrimiento físico, mental y espiritual para el resto de su vida.

No obstante, su enorme creatividad y capacidad de trabajo no menguaron luego del accidente: en 1938 la canción Get Out Of Town abrió el show Leave It To Me, en el que Mary Martin y Gene Kelly fueron introducidos a Broadway. Asimismo escribió I Concentrate On You para la película Broadway Melody of 1940, y más tarde Do I Love You, Ace In The Hole y Let’s Face It.


En 1948 Porter tuvo un regreso brillante con el musical Kiss Me Kate, basado en La Fierecilla Domada de Shakespeare, en la que Ella Fitzgerald interpreta Too Darn Hot, So In Love, Always True To You In My Fashion y Why Can’t You Behave.


El siguiente show de Porter Can-Can, situado en el Paris de 1890, no tuvo mayor éxito y marcó su declive artístico y personal. No obstante, canciones como I Love Pris, I Am In Love, y It’s All Right Whit Me, son absolutamente hermosas. Hacia 1950 la vida personal de Porter incia el colapso: Su adorada madre muere, poco después su esposa Linda luego de una larga enfermedad. Por esa época le amputan una de sus piernas y nunca más escribe. Finalmente fallece en California el 15 de octubre de 1964 a la edad de 73.

Sin duda, Cole Porter ha llegado a nuestros corazones con su armoniosa y gloriosa música que va de la mano con las sofisticadas y poéticas letras (lyrics). (Debo decir que me gusta más la palabra lyric que letra para ser empleada a las canciones). La belleza, elegancia y el arte de Porter se refrendan con su mejor intérprete: Ella Fitzgerald. Los invito a escucharlos.

Every time we say goodbye

Every time we say goodbye, I die a little
Every time we say goodbye, I wonder why a little
Why the gods above me, who must be in the know
think so little of me that they allow you go


When your near there's such an air of Spring about it
I can hear a lark somewhere begin to sing about it
There's no love song finer but how strange
The change from major to minor.


Every time we say goodbye...

Let's Do It
When the little bluebird
Who has never said a word
Starts to sing Spring
When the little bluebell
At the bottom of the dell
Starts to ring Ding dong Ding dong
When the little blue clerk
In the middle of his work
Starts a tune to the moon up above
It is nature that is all
Simply telling us to fall in love


And that's why birds do it, bees do it
Even educated fleas do it
Let's do it, let's fall in love


Cold Cape Cod clams, 'gainst their wish, do it
Even lazy jellyfish do it
Let's do it, let's fall in love


I've heard that lizards and frogs do it
Layin' on a rock
They say that roosters do it
With a doodle and cock


Some Argentines, without means do it
I hear even Boston beans do it
Let's do it, let's fall in love


When the little bluebird
Who has never said a word
starts to sing Spring spring spring
When the little bluebell
At the bottom of the dell
Starts to ring Ding ding ding
When the little blue clerk
In the middle of his work
Starts a tune


The most refined lady bugs do it
When a gentleman calls
Moths in your rugs they do it
What's the use of moth balls


The chimpanzees in the zoos do it,
Some courageous kangaroos do it
Let's do it, let's fall in love


I'm sure sometimes on the sly you do it
Maybe even you and I might do it
Let's do it, let's fall in love.

Begin The Beguine
When they begin The Beguine
It brings back the sound of music so tender
It brings back a night of tropical splendour
It brings back a memory evergreen


I'm with you once more under the stars
And down by the shore an orchestra's playing
And even the palms seem to be swaying
When they begin The Beguine


To live it again is past all endeavour
Except when that tune clutches my heart
And there we are, swearing to love forever
And promising never, never to part


What moments divine, what rapture serene
Till clouds came along to disperse the joys we had tasted
And now when I hear people curse the chance that was wasted
I know but too well what they mean


So don't let them begin The Beguine
Let the love that was once afire remain an ember
Let it sleep like the dead desire I only remember
When they begin The Beguine


Oh yes, let them begin The Beguine, make them play
Till the stars that were there before return above you
Till you whisper to me once more, 'Darling, I love you!'
And we suddenly know what heaven we're in
When they begin the Beguine
When they begin the Beguine.

You're The Top

At words poetic, I'm so pathetic
That I always have found it best,
Instead of getting 'em off my chest,
To let 'em rest unexpressed,
I hate parading my serenading
As I'll probably miss a bar,
But if this ditty is not so pretty
At least it'll tell you
How great you are.


You're the top!
You're the Coliseum.
You're the top!
You're the Louvre Museum.
You're a melody from a symphony by Strauss
You're a Bendel bonnet,
A Shakespeare's sonnet,
You're Mickey Mouse.
You're the Nile,
You're the Tower of Pisa,
You're the smile on the Mona Lisa
I'm a worthless check, a total wreck, a flop,
But if, baby, I'm the bottom you're the top!


Your words poetic are not pathetic.
On the other hand, babe, you shine,
And I can feel after every line
A thrill divine
Down my spine.
Now gifted humans like Vincent Youmans
Might think that your song is bad,
But I got a notion
I'll second the motion
And this is what I'm going to add.

You're the top!
You're Mahatma Gandhi.
You're the top!
You're Napoleon Brandy.
You're the purple light
Of a summer night in Spain,
You're the National Gallery
You're Garbo's salary,
You're cellophane.
You're sublime,
You're turkey dinner,
You're the time, the time of a Derby winner
I'm a toy balloon that’s fated soon to pop
But if, baby, I'm the bottom,
You're the top!


You're the top!
You're an arrow collar
You're the top!
You're a Coolidge dollar,
You're the nimble tread
Of the feet of Fred Astaire,
You're an O'Neill drama,
You're Whistler's mama!
You're camembert.


You're a rose,
You're Inferno's Dante,
You're the nose
On the great Durante.
I'm just in a way,
As the French would say, "de trop".
But if, baby, I'm the bottom,
You're the top!


You're the top!
You're a dance in Bali.
You're the top!
You're a hot tamale.
You're an angel, you,
Simply too, too, too diveen,
You're a Boticcelli,
You're Keats,
You're Shelly!


You're Ovaltine!
You're a boom,
You're the dam at Boulder,
You're the moon,
Over Mae West's shoulder,
I'm the nominee of the G.O.P.


Or GOP!
But if, baby, I'm the bottom,
You're the top!


You're the top!
You're a Waldorf salad.
You're the top!
You're a Berlin ballad.
You're the boats that glide
On the sleepy Zuider Zee,
You're an old Dutch master,


You're Lady Astor,
You're broccoli!
You're romance,
You're the steppes of Russia,
You're the pants, on a Roxy usher,
I'm a broken doll, a fol-de-rol, a blop,


But if, baby, I'm the bottom,
You're the top!

Do I Love You
Verse:
After that sweet summer afternoon
When for the first time I saw you appear
Dreaming of you, I composed a tune,
So will you listen to it, dear?


Refrain:
Do I love you, do I?
Doesn't one and one make two?
Do I love you, do I?
Does July need a sky of blue?
Would I miss you, would I?
If you ever should go away?
If the sun should desert the day,
What would life be?
Will I leave you, never?
Could the ocean leave the shore?
Will I worship you forever?
Isn't heaven forever more? (for evermore?)


Do I love you, do I?
Oh, my dear, it's so easy to see,
Don't you know I do?
Don't I show you I do,
Just as you love me.

In The Still Of The Night
In the still of the night
as I gaze out of my window
at the moon in it's flight
My thoughts all stray to you


In the moon's yellow light
while the world is in slumber
Ah, the times without number
Darling, when I say to you


Do you love me as I love you
Are you my life to be
My dream come true
Or will this dream of mine
fade out of sight
While the Moon's growing dim
on the rim of the hill
in the chill still of the night.

It's De-lovely
I feel a sudden urge to sing the kind of ditty that invokes the Spring
So, control your desire to curse while I crucify the verse
This verse I've started seems to me the 'Tin Pan-tithesis' of melody
So to spare you all the pain, I'll skip the darn thing and sing the refrain


The night is young, the skies are clear
And if you want to go walkin', dear
It's delightful, it's delicious, it's de-lovely


I understand the reason why
You're sentimental, 'cause so am I
It's delightful, it's delicious, it's de-lovely


You can tell at a glance what a swell night this is for romance
You can hear, dear Mother Nature murmuring low 'Let yourself go'


So please be sweet, my chickadee, and when I kiss ya, just say to me
It's delightful, it's delicious, it's delectable, it's delirious,
It's dilemma, it's de limit, it's deluxe, it's de-lovely


Time marches on, and soon it's plain
You've won my heart and I've lost my brain.
It's delightful, it's delicious, it's de-lovely.


Life seems to sweet that we decide
It's in the bag to get unified.
It's delightful, it's delicious, it's de-lovely.


See the crowd in that church, see the proud parson plopped on his perch.
Get the sweet beat of that organ sealing our doom. 'Here goes the groom, boom!'


How they cheer and how they smile as we go galloping down that aisle.
It's divine, dear. It's diveen, dear. It's de-wunderbar. It's de victory.
It's de valoop. It's de vinner. It's de voiks. It's de-lovely.


The knot is tied and so we take
A few hours off to eat wedding cake.
It's delightful, it's delicious, it's de-lovely.


It feels so fine to be a bride and how's the groom?
Why, he slightly fried.
It's delightful, it's delicious, it's de-lovely.


To the pop of champagne off we hop in our plush little plane,
'Till a bright light through the darkness cozily calls, 'Niag'ra Falls.'


All's well, my love, our day's complete, and what a beautiful bridal suite.
It's de-reamy. It's de-rowsy. It's de-reverie. It's de-rhapsody.
It's de-regal. It's de-royal. It's de-Ritz. It's de-lovely.


We settle down as man and wife
To solve the riddle called married life.
It's delightful, it's delicious, it's de-lovely.

Under My Skin
I've got you under my skin
I've got you deep in the heart of me
So deep in my heart, that you're really a part of me
I've got you under my skin


I've tried so hard not to give in
I've said to myself this affair will never go so well
But why should I try to resist, when baby will I know so well
That I've got you under my skin


I'd sacrifice anything come what might
For the sake of having you near
In spite of a warning voice that comes in the night
And repeats, repeats in my ear


Don't you know little fool, you never can win
Use your mentality, wake up to reality
But each time I do, just the thought of you
Makes me stop before I begin
'Cause I've got you under my skin.

Miss Otis Regrets
Miss Otis regrets she's unable to lunch today, Madam.
Miss Otis regrets she's unable to lunch today.
She is sorry to be delayed,
But last evening down in Lover's Lane she strayed.
Madam.
Miss Otis regrets she's unable to lunch today.


When she woke up and found, that her dream of love was gone.
Madam.


She ran to the man who had lead her so far astray.
And from under a velvet gown,
She drew a gun and shot her lover down,
Madam.
Miss Otis regrets she's unable to lunch today.


When the mob came and got her and dragged her from the jail,
Madam,
They strung her from the old willow cross the way.


And the moment before she died,
She lifted up her lovely head and cried,
Madam.


Miss Otis regrets she's unable to lunch today.


Miss Otis regrets... she's unable to lunch today.

I Get A Kick Out Of You
My story is much too sad to be told,
but practically everything
leaves me totally cold.
The only exception i know is the case,
when i'm out on a quiet spree,
fighting vainly the old enui
and i suddenly turn and see,
your fabulous face.


I get no kick from Champagne
Mere alcohol doesn't thrill me at all
so tell me why should it be true
that i get a kick
out of you


Some get a kick from cocain
I'm sure that if i took even one sniff
that would bore me terrificly too
yet i get a kick out of you


I get a kick every time i see you standing there before me
I get a kick though its clear to me you obviously don't
adore me


I get no kick in a plane
Flying too high
with some guy in the sky is my idea of nothing to do


Yet I get a kick
Out of you.

Night And Day
Like the beat, beat, beat of the tom tom
When the jungle shadows fall
Like the tick, tick, tock of the stately clock
as it stands against the wall.
Like the drip, drip, drip of the raindrops
when a jungle shower is through.
So a voice within me keeps repeating you, you, you.
Night and day
You are the one
Only you beneath the moon
and under the sun
Whether near to me or far
It's no matter darling
where you are, I think of you.
Night and day.


Night and day
why is it so
that this hunger for you
follows wherever I go
In the roaring traffic's boom
In the silence of my lonely room
I think of you
Night and day
Night and day
under the hide of me
There's an oh, such a hungry
yearning burning inside of me
And it's torment won't ever be through
Till you let me spend my life
making love to you
Day and night
night and day.

All Through The Night

The day is my enemy, the night my friend,
For I'm always so alone till the day draws to an end;
But when the sun goes down and the moon comes through,
To the monotone of the evening's drone I'm all alone with you.


All through the night,
I delight in your love,
All through the night you're sio close to me!
All through the night,
From a height far above,
You and your love brings me ecstasy!


When dawn comes to waken me,
You're never there at all!
I know you've forsaken me
Till the shadows fall;
But then once again I can dream, I've the right
To be close to you all through the night.

I Love Paris

Every time I look down on this timeless town
whether blue or gray be her skies.
Whether loud be her cheers or soft be her tears,
more and more do I realize:


I love Paris in the springtime.
I love Paris in the fall.
I love Paris in the winter when it drizzles,
I love Paris in the summer when it sizzles.


I love Paris every moment,
every moment of the year.
I love Paris, why, oh why do I love Paris?
Because my love is near.

Don’t Fence Me In

Wildcat Kelly, lookin' mighty pale
Was standin' by the Sherriff's side
And when that Sherriff said, "I'm sending you to jail"
Wildcat raised his head and cried.


Oh, give me land, lots of land under starry skies above
Don't fence me in
Let me ride through the wide open country that I love
Don't fence me in.


Let me be by myself in the evenin' breeze
And listen to the murmur of the cottonwood trees
Send me off forever but I ask you please
Don't fence me in.


Just turn me loose, let me straddle my old saddle
Underneath the western skies
On my cayuse, let me wander over yonder
Till I see the mountains rise.


I want to ride to the ridge where the west commences
And gaze at the moon till I lose my senses
I can't look at hobbles and I can't stand fences
Don't fence me in.


Wilcat Kelly, back in town again
Was standin' by his Sweetheart's side
And when his Sweetheart said, "Come on, let's settle down"
Wildcat raised his head and cried


Oh, give me land, lots of land under starry skies
Don't fence me in
Let me ride through the wide open country that I love
Don't fence me in.


Let me be by myself in the evenin' breeze
And listen to the murmur of the cottonwood trees
Send me off forever but I ask you please
Don't fence me in.


Just turn me loose, let me straddle my old saddle
Underneath the western skies
On my Cayuse, let me wander over yonder
Till I see the mountains rise.


I want to ride to the ridge where the west commences
And gaze at the moon till I lose my senses
I can't look at hobbles and I can't stand fences
Don't fence me in.

The Cole Porter Resourse Site

Cole Wide Web Recommends
Anything Goes: Capitol Sings Cole Porter


An excellent CD with 25 tracks with great singing, great artistry, and high production values. It contains particularly brilliant renditions of "What Is This Thing Called Love" by Keely Smith and "Just One Of Those Things" by Nat King Cole. If you could only have one Cole Porter CD, this would be the one to have.


Ben Bagley's Cole Porter (6 CDs)


Wonderful CDs from Painted Smiles Records. These CDs contains many of the rare songs you will never hear anywhere else. Email Amazon and request that they sell it! You can find the Painted Smiles (snail mail) order form online. After a lifetime of supporting "lost" music, Ben Bagley passed away on March 21, 1998, after a long illness. Any of the Painted Smiles CDs listed on that site can be purchased for just $10 each directly from Bagley's not-for-profit company.


Volume 1
Great versions if "You're a Bad Influence on Me" and "It Ain't Etiquette", and "Coffee". Note: this CD is also called Cole Porter Revisted.
Volume 2
Just plain brilliant, with wonderful energetic renditions of "Pets", "Sweet Nudity", and other great songs.
Volume 3
Great versions of "Make a Date With a Great Psychoanalyst" and "Her Heart Was In Her Work". The singing is good, but these are not Cole's finest songs, in my opinion.
Volume 4
Good, but not the best in the series.
Volumes 5-6
I don't have volumes 5 or 6 for review.


Red, Hot, and Blue: A Tribute To Cole Porter
Most people will love this CD whether they get it because of the star line-up (U2, David Byrne, Erasure, etc.) or because they are fans of Cole Porter songs. Most tracks are done true to the original with modern instrumentation. Purists should note that 2 or 3 tracks are very loosely interpreted. As a whole, I think Cole would be very proud of these versions. My favorites are David Byrne's "Don't Fence Me In" and k d lang's haunting rendition of "So In Love". If you like modern instrumentation and classic brilliant songs, you'll love this album. If you don't know who these musicians are, this album is optional.


Ella Fitgerald Sings the Cole Porter Songbooks
Excellent singing, excellent muscianship. Classic. Enough said.
You can also buy this 2 CD set as separate Volume 1 and Volume 2.