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Tag Archives: Marian Antiphons

Explanations

04 Saturday Feb 2017

Posted by michelinewalker in Art, Computer

≈ 4 Comments

Tags

Botticelli, Challenges, Marian Antiphons, New Computer

2-R42-X1-1483-15-1 Botticelli-Werkstatt, Madonna mit Engeln Botticelli, Sandro (eigentl. Alessandro Filipepi) 1445-1510. Werkstatt. 'Maria mit Kind und Engeln', um 1483-85. (Ausschnitt). Tempera auf Pappelholz, Tondo, Durchmes- ser 114,5 cm. Inv.Nr.1133, Wien, Akademie der Bildenden Kuenste. E: Botticelli Workshop / Madonna w.Angels Botticelli, Sandro (origin. Alessandro Filipepi) 1445-1510. Workshop. 'Mary with the Child and angels', c.1483-85. (Detail). Tempera on poplar, tondo, diameter 114.5cm. Inv.no.1133, Vienna, Akademie der Bildenden Kuenste. F: Botticelli/Atelier/Vierge a l'Enfant Botticelli Sandro , Alessandro Filipepi, dit , 1445-1510. Atelier. -'Vierge a l'Enfant', v. 1483-85. - (Detail). Detrempe sur bois de peuplier. Tondo, diametre : 1,145. Inv.Nr.1133, Vienne, Akademie der Bildenden Kuenste.

Vierge à l’enfant by Sandro Botticelli (Pinterest)

I am using a new computer. Although I said I was buying a new computer a few months ago, I repaired the old one and continued using it until it perished. However, I am making mistakes. For instance, I erased the article I posted yesterday, but I had a copy of it. In the meantime, I accidentally posted an article containing the Marian Antiphons. This is a post I intended to use. It was published in 2011.

Marian Antiphons

My article on Candlemas was first posted in 2012. As for my post on the Marian Antiphons, it was published in 2011. On Candlemas, the seasonal antiphon (une antienne) is the Ave Regina Cælorum. It will be used until Good Friday.

We are somewhat late, but keeping up to date.

Love to everyone ♥

Sandro Botticelli con Vivaldi

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4 February 2017
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The Marian Antiphonies

05 Sunday Apr 2015

Posted by michelinewalker in Feasts, Marian Hymnology, Music

≈ 8 Comments

Tags

Ave Regina Caelorum, Giovanni Legrenzi, madrigals, Marian Antiphons, Mater Dolorosa, polyphony, Regina Cæli, sacred music

Dolci_Mater_dolorosa_1

Mater Dolorosa by Carlo Dolci (25 May 1616 – 17 January 1686) (Photo credit: Wikipedia) 

The Marian Antiphons

The Marian year has its seasons and each season has its antiphon. There are four antiphons, one for each Marian season. Antiphons, sometimes called antiphonies, are a call and response hymn. (See Posts on Marian Hymnology.)

Marian antiphonies are:

  • Alma Redemptoris Mater (Advent through February 2)
  • Ave Regina Cælorum (Presentation of the Lord through Good Friday)
  • Regina Cæli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

Last week, on Good Friday, the seasonal Marian antiphon became the Regina Cæli. It had been the Ave Regina Cælorum, which ends on Good Friday. Good Friday, or ‘holy’ Friday, is the day that commemorates the crucifixion and death of Jesus of Nazareth, also known as Christ, in whose name Christianity was founded.

As you may know, the growth of polyphony, music combining several voices, is linked to Sacred Music mainly. During the Middle Ages, the Church was the main patron of composers. Most composers therefore became Kappelmeisters. It was their profession.

However, composers such as Italian Luca Marenzio (18 October 1553 or 1554 – 22, August 1599) wrote madrigals, secular music. Marenzio worked for Italian aristocratic families: the Gonzaga, the Este, and the Medici. Madrigals became the leading genre during the Renaissance and could be called the secular birthplace of polyphony. The largely courtly madrigal was rooted in the medieval song or chanson. Trouvères (northern France), troubadours[1] (southern France), and Minnesingers (German-speaking lands) wrote and sang chansons.

Piazza San Marco (Photo credit: Wikipedia)

Piazza San Marco, Venice (Photo credit: Wikipedia)

The Renaissance

The Renaissance began with the collapse of the Byzantine Empire (Greek), or Eastern Roman Empire. Constantinople fell to the Ottoman Turks on 29 May 1453 and its Greek scholars fled to Italy. The Ottoman Empire’s Sultanate collapsed on 1 November 1922 and its Caliphate was abolished on 3 March 1924. (See The Last Crusades: the Ottoman Empire.) Constantinople became Istanbul in 1929 and is the largest city in Turkey. The arrival in Italy of Greek scholars escaping the Ottoman Turks would change western Europe profoundly. It ushered in a renaissance (rebirth).

San Marco, or St. Mark’s Basilica, reflects the influence of the Byzantine Empire, the empire that preceded the Ottoman Empire. (See Constantine the Great, Wikipedia.)[2] However, the Venetian School of music was founded by Adrian Willaert of the Franco-Flemish school. (See Venetian polychoral style, Wikipedia)

In 1527, Netherlandish composer Adrian Willaert (c. 1490 – 7 December 1562)travelled to Venice, where he had been appointed maestro di cappella at San Marco and taught music. At St. Mark’s Basilica, he had the best of facilities and remained its maestro di cappella until his death in 1552.

Music for Easter

Two years ago, I posted an article entitled Music for Easter (31 March 2013). That post featured the Regina Cæli, the Easter season’s antiphon. If you wish to listen to Michel Richard de Lalande‘s Regina Cæli, please click on Music for Easter. Music for Easter is a short post also featuring, as does this post, Giovanni Battista Pergolesi‘s (4 January 1710 – 16 March 1736) “Quando corpus morietur.” Pergolesi died at the age of 26, but had already composed several mature works. I love Pergolesi. His “Quando corpus morietur” is inspired music.

Giovanni Legrenzi

Giovanni Legrenzi[3] (baptized 12 August 1626 – 27 May 1690) was a 17th-century Italian composer. By the 17th century, western Europe had entered its Baroque period (1600 – 1750) and composers had started to write operas. However, Legrenzi was first employed as organist at Santa Maria Maggiore, in Bergamo, Italy. In the mid 1650’s, he was maestro di cappella at the Academy of the Holy Spirit in Ferrara. Later, he settled in Venice where he lived comfortably and was named maestro di cappella at San Marco, Venice’s splendid Basilica. In other words, the Church had remained an important employer of musicians.

Both Giovanni Legrenzi and Michel Richard de Lalande were active at the height of the Ottoman Empire, the period when turquerie was fashionable, but it should be noted that polyphonic music is entirely a product of the Graeco-Roman civilization.

RELATED ARTICLES

  • The Last Crusades: the Ottoman Empire (12 February 2015)
  • The Codex Manesse (20 September 2014) (Minnesingers)
  • Giovanni Battista Pergolesi, revisited (5 December 2013)
  • Music for Easter (31 March 2013)
  • Posts on Marian Hymnology (7 January 2013)
  • A Portrait of Giovanni Battista Pergolesi (20 December 2011)

Sources and Resources

  • The Byzantine Rite http://en.wikipedia.org/wiki/Byzantine_Rite
  • Notre-Dame de Paris
    Ave Regina Cælorum (Presentation of the Lord through Good Friday)
  • Notre-Dame de Paris
    Regina Cæli (Easter Season)

Ave, Regína cælórum
Ave, Dómina Angelórum,
Sálve rádix, sálve, pórta,
Ex qua múndo lux est órta.
Gáude, Vírgo gloriósa,
Super ómnes speciósa ;
Vále, o valde decóra
Et pro nóbis Christum exóra.

Hail, Queen of the Heavens!
Hail, ruler of the angels!
Hail, root of Jesse! Hail, portal from whom light has shone to the world!
Hail, Virgin most glorious,
Beautiful above all!
Farewell, O most comely,
And pray to Christ for us.
(Courtesy of Notre-Dame de Paris)

47visnew

Madonna by Raphael (Photo credit: Wikipedia)

This post was published mistakenly a few minutes after I started writing it. The “publish” button is next to the “save draft” button. This morning, I realized that my image of San Marco was missing. I decided to insert it, but pressed on the “draft”  button instead of the “pending review” button. The post is now dated 5 April 2015.

Wishing all to you a Happy Easter.♥

____________________
[1] Troubadours sang in langue d’oc and trouvères in langue d’oïl.

[2] Constantine I was the first Roman Emperor to convert to Christianity. He founded the Christian Church, as an institution, at the First Council of Nicaea (325 CE) and the Council of Nicaea and Constantinople, in 381 CE. The Nicene Creed dates back to these two councils.

[3] “Giovanni Legrenzi”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2015. Web. 04 avr.. 2015
<http://www.britannica.com/EBchecked/topic/335137/Giovanni-Legrenzi>.

Ave Regina Cælorum
Philippe Jaroussky (countertenor) and Marie-Nicole Lemieux (contralto)

Pergolesi’s Quando corpus morietur 

  • composer:  Giovanni Battista Pergolesi (4 January 1710 –16 or 17 March 1736)
  • piece: “Quando corpus morietur,” Stabat Mater
  • performers: London Symphony Orchestra, 1985
  • Margaret Marshall, Soprano; Lucia Valentini Terrani, Contralto
  • conductor: Claudio Abbado

tumblr_mgsy17srBd1qipl8zo1_500© Micheline Walker
4 April 2015
(revised on 5 April 2015)
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Mater Dolorosa (detail, ca. 1485) attributed to Simon Marmion (Photo credit: rebloggy.com)

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Candlemas: its Stories & its Songs, updated

03 Tuesday Feb 2015

Posted by michelinewalker in Feasts, Hymnology

≈ 2 Comments

Tags

Candlemas, Canticle, Chandeleur, Feasts, Groundhog Day, Marian Antiphons, Marian hymnology, Nunc Dimittis

Putti, by Raphaël

Putti (Chérubins), by Raphaël

Marian Antiphons (Antiennes)

Today, 2 February 2015, we are entering the Marian year’s second season, the first takes us from Advent to Candlemas (la Chandeleur), once an observed feast commemorating the presentation of the child Jesus at the Temple. The second lasts until Good Friday.

In other words, as of today the Marian song is the Ave Regina Cælorum. From the beginning of Advent until today, it had been the Alma Redemptoris Mater. Several composers have set the words of the Alma Redemptoris Mater and the same is true of the Ave Regina Cælorum.

In the Church of England, today, Candlemas, is the end of the Epiphany season which follows the Christmas season.

The “Nunc dimittis” or Canticle of Simeon (Cantique)

Also sung today is the Nunc dimittis (“Now you dismiss…,” Luke 2:29–32), The Song of Simeon or Canticle of Simeon). Simeon had been promised he would see Jesus and did.  A canticle is a song of praise. In this respect, the Nunc Dimittis resembles the Magnificat, or Canticle of Mary.  Mary sang the Magnificat when she heard her cousin Elizabeth was with child. To listen to the Nunc Dimittis and read its story, simply click on one of the links below:

  • Nunc Dimittis, Simeon’s Song of Praise (2 February 2012)
  • Candlemas: the Presentation of Jesus in the Temple & a Festival of Lights (2 February 2012)

Groundhog Day

Moreover, today is Groundhog Day. How long will winter last? See the link below.

http://www.cbc.ca/news/canada/groundhog-day-what-do-meteorologists-think-1.2940617

Humans have always situated their feasts when a change occurs in the weather. We go from season to season and the following year, we also go from season to season and this continues year after year.

The Labours of the Months

Remember Jean de France’s Très Riches Heures. (See Les Très Riches Heures du Duc de Berry). It’s a Book of Hours, but it is also a calendar. The Très Riches Heures has a large illuminated (enluminures) page for each month of the year illustrating the Labours of the Months.  With Jean de France, there was another motive. In the background of each page, we see one of his castles.

Greek poet Hesiod, who is believed to have been active between 750 and 650 BCE, wrote Works and Days, a book Wikipedia describes as a farmer’s almanac. In Works and Days, he is teaching his brother Perses about the agricultural arts. (See Works and Days.)

Although we are leaving the first Marian season, I am including both the Alma Redemptoris Mater and the Ave Regina Cælorum.

—ooo—

During Canonical Hours, the Antiphon (antienne) is a liturgical chant that precedes and follows a Psalm or a Canticle.  In a Mass, it is also a chant to which a choir or the congregation respond with a refrain.  It is therefore a call and response chant.

  • Alma Redemptoris Mater (Advent through February 2)
  • Ave Regina Cælorum  (Presentation of the Temple through Good Friday)
  • Regina Cœli  (Eastertide)
  • Salve Regina  Notre-Dame de Paris (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

Sources and Resources

Hesiod’s Works and Days (r. 700 BCE) is an online publication (click on the title).

—ooo—

Posts on Marian Hymnology & More

  • Posts on Marian Hymnology (6 January 2013)
  • Epiphany: Balthasar, Melchior & Gaspar (6 January 2013)
  • A Christmas Offering (cont’d): Hymns to Mary (26 December 2012)
  • From the Magnificat to the Stabat Mater (6 April 2012)
  • Raphael and Marian Liturgy at NDP (4 April 2012)
  • Fra Angelico & the Annunciation (3 April 2012)
  • On Calendars & Feast Days (2 April 2012)
  • Candlemas: the Presentation of Jesus in the Temple & a Festival of Lights (2 February 2012)
  • Nunc Dimittis, Simeon’s Song of Praise (2 February 2012)
  • A Christmas Offering: Hymns to Mary (25 December 2011)
  • The Blessed Virgin: Mariology (24 December 2011)
  • A Portrait of Giovanni Battista Pergolesi (20 December 2011)
  • Liturgy as a Musical Form (15 December 2011)
  • Canonical Hours and the Divine Office (19 November 2011) ←
composer: Giovanni Pierluigi da Palestrina (3 February 1525 or 2 February 1526 – 2 February 1594)
piece: Alma Redemptoris Mater
performers: Cappella Gregoriana (Tokyo, Japan)
From First Vespers of Christmas until the Presentation
 
piece: Ave Regina Cælorum
performers: Philippe Jaroussky (French countertenor, b. 13 February 1978)
Marie-Nicole Lemieux (Quebec contralto, b. 26 June 1975)
From the Presentation of the Lord through Good Friday
Raffael_027© Micheline Walker
2 February 2013
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updated
2 February 2015

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Guido Reni & Tomas Luis de Victoria

18 Saturday Oct 2014

Posted by michelinewalker in Art, Liturgy, Music

≈ Comments Off on Guido Reni & Tomas Luis de Victoria

Tags

Atalanta & Hippomenes, Denis Calvaert, Franco-Flemish school, Guido Reni, Hermann of Reichenau, High Baroque, Marian Antiphons, Tomas Luis de Victoria

640px-Guido_Reni_015

Guido Reni, Charity, 1604 – 1607 (Photo credit: WikiArt.org)

For Catholics, Charity is the most important of the three theological virtues: faith, hope, charity. The events of the past week brought the word charity to my mind. I faced several obstacles because I could not provide a credit card number.

But let us turn to Marian Hymnology, Guido Reni‘s art and Tomás Luis de Victoria‘s compositions. We will call it a pause.

Marian Hymnology: Four Antiphons

By clicking on the titles below, you will be at Notre-Dame de Paris. On the left side of the page are the titles of the four Marian Antiphons. Choose the antiphon you wish to listen to. You will also be provided with the words.

  • Alma Redemptoris Mater (Advent through February 2)
  • Ave Regina Cælorum (Presentation of the Lord through Good Friday)
  • Regina Cœli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)
Hermann der Lahme

Hermann der Lahme (Photo credit: Wikipedia)

The Extraordinary Hermann of Reichenau

The Salve Regina is one of the four Marian Antiphons. It was composed (Gregorian Chant) by Hermann of Reichenau (18 July 1013 – 24 September 1054) who was severely crippled and spent most of his brief life at the Benedictine Abbey of Reichenau. Hermann “the lame” became a monk. He was a scholar, a composer, a music theorist, a mathematician, an astronomer, and a linguist.

However, the composition, I have inserted at the foot of this post is not Gregorian chant, but a setting by prominent Spanish composer Tomás Luis de Victoria (c. 1548 – 27 August 1611) of the lyrics of the Salve Regina. It is a combination the French would call heureuse, happy.

Guido Reni

Guido Reni (4 November 1575 – 18 August 1642) was born in Bologna. He is a high Baroque artist remembered for his use of luminous colours. The painting shown above does not reveal this characteristic. It is somewhat and successfully monochromatic. His themes were biblical and mythological and therefore consistent with the subject-matter of painters of his era. The little children he depicted resemble putti, but putti (plural for putto) have wings.

Apprentice to Denis Calvaert: Franco-Flemish School

Reni was an apprentice to Flemish artist Denis Calvaert (1540 – 16 April 1619), often called Il Fiammingo due to his origins. In the very late Middle Ages, just prior to the Renaissance,[1] Flanders was the cultural hub of Europe. Adrian Willaert of the Franco-Flemish school taught music to students in Venice who were very gifted and whose love for music was exceptional. In turn, the Italians created the French Overture. It was introduced in France by composer Jean-Baptiste Lully, born Giovanni Battista Lulli. Lulli was also a dancer and choreographer who worked with French playwright Molière (1622 – 1673).

Early Recognition

Guido moved to Rome in 1601 and his first commission was an altarpiece of the Crucifixion of St. Peter. During this period of his life, Guido’s patron was Paolo Emilio Sfondrati (1560 – 14 February 1618). According to Britannica, Reni was later influenced by the novel naturalism of the Carracci, a family of artists: Annibale, Agostino and Ludovico.

Guido was soon recognized as a master. He was a painter to Pope Paul V (Borghese). We owe him many frescoes.­­

Guido’s Style: “serene”

According to Britannica,

The mood of his paintings is calm and serene, as are the studied softness of colour and form. [2]

Britannica also states that Guido’s compositional choices in 

Atalanta and Hippomenes” (1625) show his preference for gracefully posed figures that mirror antique ideals. [3] 

Hippomenes won the race dropping apples.

Atalanta and Hippomenes

Atalanta and Hippomenes, 1625 (Photo credit: WikiArt.org)

The Adoration of the Shepherds (Photo credit: WikiArt.org)

The Adoration of the Shepherds (Photo credit: WikiArt.org)

Guido went to Naples to complete a commission to paint a ceiling in a chapel of the San Gennaro, but it appears competitors attempted to poison him, which emphasizes his talent as an artist. In 1625, Polish Prince Władysław Sigismund Vasa visited Reni’s studio in Bologna, which led to the purchase by the Prince of several works by Guido Reno. Guido survived the plague of 1630 that claimed many lives in Bologna. He was then painting the Pallion del Voto “with images of St. Ignatius and Francis Xavier,” produced during the plague of 1630 that befell Bologna. (See Guido Reni, Wikipedia.)

Guido died in 1642 and is buried next to Elisabetta Sirani (1638 – 1665) in the Rosary Chapel of the Basilica of San Domenica. Elisabetta Sirani’s story is told by Germaine Greer, in chapter XI, entitled The Bolognese Phenomenon, of The Obstacle Race.[4]

RELATED ARTICLES

  • Posts on Marian Hymnology  (7 January 2013)
  • “And life sprouts up from root to branch?” (5 April 2012)

My kindest wishes to all of you.

____________________

[1] “Western music.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2014. Web. 18 Oct. 2014. <http://www.britannica.com/EBchecked/topic/398976/Western-music>.

[2] “Guido Reni”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2014. Web. 18 Oct. 2014. <http://www.britannica.com/EBchecked/topic/498122/Guido-Reni>.

[3] Ibid.

[4] Germaine Greer, The Obstacle Race (New York: Farrar Straus Giroux, 1979).

Salve Regina, Tomás Luis de Victoria (c. 1548 – 27 August 1611)
????????????

Beatrice Cenci, oil painting by Guido Reni; in the Galleria Nazionale, Rome Alinari/Art Resource, New York (Britannica)

© Micheline Walker
18 October 2014
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“And life sprouts up from root to branch…”

05 Thursday Apr 2012

Posted by michelinewalker in Art, Music

≈ 539 Comments

Tags

Christian, Diego Velázquez, Easter, Marian Antiphons, Mary, Notre-Dame de Paris, Salve Regina, Trinity Sunday

Regina Cæli, by Diego Velázquez (1641 – 1644), Museo del Prado

Diego Rodríguez de Silva y Velázquez  (6 June 1599 – 6 August 1660) was a Spanish painter and the most prominent artist at the court of King Philip IV.

In his description of the Ave Regina Cælorum, the Notre-Dame de Paris author wrote:

isn’t spring the time when days get endlessly longer and life sprouts up from root to branch?

As of  tomorrow, 6 April 2012, the Marian Antiphon will be the Regina Cæli and it will remain the seasonal Antiphon until Vespers of Trinity Sunday.  But although the Antiphon will change, we will still celebrate the refreshing newness of seasons and the eternal return of spring.

The Marian Antiphons

Immediately below, is our list of Marian Antiphons.  It is probably best to keep them under our eyes.

Please click on the titles to hear the music.

  • Ave Redemptoris Mater (Advent through February 2)
  • Ave Regina Cœlorum (Presentation of the Lord through Good Friday)
  • Regina Cæli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

However, let us go to Notre-Dame’s Regina Cæli‘s site and read about the Marian antiphony that begins tomorrow.  So I am quoting:

The most recent Antiphony dedicated to Mary (14th century) used to end services. It is sung during the Easter season and makes no mention of the valley of tears, like the Salve Regina, but instead sings of resurrection and heaven, where Mary reigns alongside her Son. This is how many of Notre-Dame de Paris’s sculptures and windows represent her.

May I suggest that even in the stained glass window shown below there is “no mention of the valley of tears.” (Notre-Dame de Paris author).  Tomorrow, 6 April 2012, we will continue to celebrate the refreshing newness each season brings and the return of Spring.

Regina Cæli (Photo credit: Notre-Dame de Paris)

Regína caéli, lætáre, Allelúia!
Quia quem meruísti portáre, Allelúia!
Resurréxit, sicut dixit, Allelúia!
Ora pro nóbis Déum, Allelúia!

Queen of heaven, be joyful, alleluia!
The Son whom you merited to bear, alleluia!
Has risen, as He said, alleluia!
Queen of heaven, pray to God for us, alleluia!

The Velásquez painting shown at the top of this post represents the Holy Trinity crowning Mary,  She is Regina or Queen of heaven and as I have mentioned in a previous post, I believe her importance in the eyes of Christians is that she seems more accessible than the Trinity.  She is a mother and Christians pray to her because they believe she will convey their prayers to Jesus and to God the Father.  She is a mother, the person to whom we confide our hopes, our fears, our sorrows, our joys.

On the Notre-Dame site you will find an interpretation of the Regina Cæli (just click on the title and scroll down).

I have listed next to the image below previous posts you may wish to refer to.

Backside Gregorian Chant - Regina Caeli, Bened...

Backside Gregorian Chant – Regina Caeli, Benediktiner Abtei St. Maurice & St. Maur, Clervaux (Photo credit: Piano Piano!)

_________________________

  • Fra Angelico & the Annunciation
  • On Calendars & Feast Days
  • The Blessed Virgin: Mariology
  • A Christmas Offering: Hymns to Mary
  • Canonical Hours and the Divine Office
 © Micheline Walker
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Micheline Walker

Micheline Walker
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