The Bach competition, it seems to me, has the sacred task of singling out the great Bach interpreters of tomorrow. And in doing so, it wishes to cast a wide net that encompasses the entire world, and in order to attract the best and most promising Bach singers and instrumentalists. It seems to me very necessary that the juries that judge them in the six divisions, the six categories of the competition, which are cello and brok cello, violin and brok violin, piano, harpsichord, organ and voice. But these jurors are among the finest and most famous Bach interpreters of our time. We want young Bach players to flock to Leipzig because they have a once in a lifetime opportunity to play for these extraordinary experts and great artists. And thereby, they can get judgments and suggestions from these great artists that could change the future course of their lives. This is not possible in other places to this extent. And as the president of the competition, I have this huge responsibility to attract an international jury because that's the best way to attract an international group of competitors. And we wish to send the message that Bach is not a composer who is simply important in Europe or in Europe and North America, but in South America and Central America and Asia and Africa and everywhere that music is made. And so we do not train musicians in that way, although we do give master classes to prepare them for the competition. But principally, we judge them. And I like to feel that the atmosphere in Leipzig, which, as I've said, is a magical one. And for these young musicians, the magic is even greater that for them, this opportunity is one that is unique. I have to say that the sense of how special this is is really not limited to the young musicians.