CAMBRIDGE UNIVERSITY MUSICAL SOCIETY www.cums.org.uk Principal Guest Conductor Sir Roger Norrington CBE CUMS Conductor Laureate Stephen Cleobury CBE Principal Guest Conductor Cambridge University Chamber Orchestra Peter Stark Directors Cambridge University Chamber Choir Martin Ennis and David Lowe

Saturday 21 January 2017, 8.00pm King’s College Chapel, Cambridge

Mahler Symphony No.3

CAMBRIDGE UNIVERSITY CHAMBER ORCHESTRA MEMBERS OF CUMS SYMPHONY ORCHESTRA CHOIRS OF CLARE, GONVILLE & CAIUS, JESUS AND SELWYN COLLEGES MEMBERS OF CUMS SYMPHONY CHORUS AND CAMBRIDGE UNIVERSITY CHAMBER CHOIR CHORISTERS OF JESUS COLLEGE AND ST CATHARINE’S COLLEGE GIRLS’ CHOIR

Paul Daniel conductor Claudia Huckle contralto Graham Ross chorus master

CUMS is grateful for the support of TTP Group – Principal Sponsor, Bloom Design, Christ’s College, Churchill College, Corpus Christi College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Jesus College, King’s College, Murray Edwards College, Newnham College, Peterhouse College, St John’s College, Trinity College, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College PROGRAMME NOTES Gustav Mahler (1860–1911) Symphony No. 3 in D minor My [Third] Symphony will be something the like of which the world has never heard. Gustav Mahler stands alongside Beethoven, Bruckner 4) What night tells me (mankind); 5) What the morn- and Brahms as one of the greatest symphonists; ing bells tell me (the angels); 6) What love tells me. yet, his ten symphonies (the fnal left unfnished at The work had its première in the small German town his death) are works of intrinsic self-doubt, which of Krefeld in 1902, conducted by the composer. It reveal a man plagued by creative tension and inner was a huge success, despite the ad hoc orchestra contradictions throughout his life. He was just 36 which had been thrown together at the last minute. years old when he completed his Third Symphony The same could not be said of the Vienna première in 1896. Although it uses smaller forces than the in 1904: it divided opinion, provoking outrage vast Second and Eighth Symphonies, it is among his on the one hand and impassioned praise on the most ambitious works – bringing together elements other. In the years between its completion and frst of philosophy, literature, religion and music. performance, Mahler had married Alma Schindler, become Music Director of the Vienna Opera in 1897, Europe was in a state of musical fux at the end of and completed fve symphonies. He had turned the nineteenth century, on the precipice of mod- away from programmatic music and removed all ernism but still holding on to conservatism. Mahler explanatory titles and descriptions associated with was an ardent Wagnerian, opposed to those who the Third. The programme for the première offered believed in ‘absolute music’, such as Brahms. He was no text except for tempo indications and song titles also an assimilated Jew during a period of rising for the fourth and ffth movements. Ominously for anti-Semitism in fn de siècle Vienna; he eventually programme note writers, Mahler wrote to the critic converted to Christianity in 1897, but a sense of Max Kalbeck in 1902: ‘no music is worth anything isolation remained throughout his life. 1896 was also if you frst have to tell the listener what experience the year which saw him begin a passionate affair lies behind it’. Nevertheless, there can be no doubt with the singer Anna von Mildenburg. Amidst all this that Mahler’s original descriptions lie at the heart of uncertainty, Mahler was soon drawn to the writings the Third Symphony. of Arthur Schopenhauer and, in particular, Friedrich Nietzsche. The vast frst movement was written after the rest of the Symphony and, at over 30 minutes, is longer Mahler had immersed himself in Nietzsche and in than the next four movements put together. The the Third Symphony set some of the most famous music is vividly suggestive but carries with it a cer- lines from the German philosopher’s Also sprach tain vulnerability; the turbulent, disordered forces of Zarathustra (Thus Spake Zarathustra). This was the life – Dionysus – are played out against the harmony, work in which Nietzsche put forward the ideal of the order and reason of Apollo in a recurring confict. Übermensch: the ‘Superman’ who, rather than plac- ing faith in an afterlife, embraces the fullness of life The second movement was the frst music that Mahler and nature. While composing the Third Symphony, wrote for the Third Symphony and was originally pre- Mahler wrote: ‘it always strikes me as odd that most sented as a freestanding work called Blumenstück people, when they speak of ‘nature’, think only of (Flower Piece). It is an intimate, sentimental minuet fowers, little birds, and woodsy smells. No one which Mahler called ‘the most carefree thing that I knows the god Dionysus, the great ‘Pan’’. Initially, have ever written – as carefree as only fowers are’. Mahler was even going to title the work after either Its simple evocation of ‘the fowers’ almost make it ‘Pan’, the Greek God of nature, or ‘The Gay Science’, sound like a tone poem but as Mahler wrote in 1895: one of Nietzsche’s earlier philosophical works. ‘my calling it a symphony is really inaccurate, for it doesn’t keep to the traditional form in any way. But Because of his duties, Mahler rarely to me ‘symphony’ means constructing a world with had time to compose during the year and so did all the technical means at one’s disposal’. most of his composing in the beloved little Austrian village where he spent his summers. It was here that The third movement is based on a song from Mahler’s the Third Symphony was written in the summers of song cycle Des Knaben Wunderhorn; however, as 1895 and 1896. We are fortunate to have a record of with the Scherzo from his Second Symphony, Mahler Mahler’s letters to Anna von Mildenburg, in which he here creates a purely instrumental movement. It wrote at length about his latest work: ‘just imagine tells of the change from the spring, represented a work of such magnitude that it actually mirrors the by the cuckoo, to the summer, represented by the whole world’, he wrote – ‘the whole of nature fnds a nightingale. Or, in Mahler’s own words: ‘this piece voice … some passages in it seem so uncanny that I really sounds as if all nature were making faces and can hardly recognise them as my own work’. sticking out its tongue. But there is such a horrible, panic-like humour in it that one is overcome with Mahler initially described the Symphony’s six move- horror rather than laughter’. Amidst the humour ments under vivid programmatic titles: 1) Summer of the ‘animals of the forest’, Mahler writes one marches in; 2) What the fowers of the meadow of his most beautiful orchestral solos: the famous tell me; 3) What the animals of the forest tell me; post-horn interlude, with the orchestral accompani- ‘I could almost call this [fnale] ‘What God tells me’. ment marked to be played ‘as if overhearring’. And truly, in the sense that God can only be under- stood as love’. And so my work begins as a musical Much of the fourth movement is delivered in an awe- poem embracing all stages of development in a struck pianissimo, as the distant sound of the human step-wise ascent. It begins with inanimate nature voice emerges from the void. The text is a setting of and ascends to the love of God’. Mahler believed his the ‘Midnight Song’ from Nietzsche’s Also sprach decision to end the Third Symphony with an Adagio Zarathustra, featuring the alto soloist. Nietzsche’s was one of the most special he made; beginning message here is that the universe is in constant fux with a heartbreakingly lyrical string melody, the forc- and that no moment of joy can be singled out; thus, es of the orchestra join one by one on the path to if one can accept ‘the eternal recurrence of the same an inexorable climax. There is a noble reverence to event’ then that moment can be joy, and pain can this fnal movement, carrying echoes of Beethoven, pass away: ‘all joy seeks … deep, deep eternity’. Bruckner and Wagner’s Parsifal. Alternating between The sound of bells – both literally and impersonated passages of calm assurance and intense passion, by trebles – heralds the angels’ song of the ffth the music fnds its apotheosis in a life-affrming movement of the Symphony. The text is taken from D major coda. As all words cease, only music remains, Des Knaben Wunderhorn, which Mahler turned to completing what Mahler called ‘my most personal throughout his career for inspiration. When writ- and richest work’. ing to Anna von Mildenburg on this movement’s theme, he cited a biblical motto which he would later Declan Kennedy inscribe on his score: ‘Father, see these wounds of mine! Let no creature of yours be lost!’ TEXT AND TRANSLATION Friedrich Nietzsche – Also Sprach Zarathustra O Mensch! Gib Acht! O Man Take heed! Was spricht die tiefe Mitternacht? What says the deep midnight? Ich schlief! Aus tiefem Traum bin ich erwacht! I slept, I slept, from a deep dream have I awoken: Die Welt ist tief! the world is deep, Und tiefer, als der Tag gedacht! and deeper than the day has thought. Tief ist ihr Weh! Deep is its pain, Lust, tiefer noch als Herzeleid. Joy, deeper still than heartache Weh spricht: Vergeh! Pain says: Pass away! Doch all’ Lust will Ewigkeit! But all joy seeks eternity, Will tiefe, tiefe Ewigkeit! seeks deep, deep eternity!

Von Des Knaben Wunderhorn Es sungen drei Engel einen süßen Gesang, Three angels sang a sweet song, Mit Freuden es selig in dem Himmel klang. With blessed joy it rang in heaven. Sie jauchzten fröhlich auch dabei: They shouted too for joy Daß Petrus sei von Sünden frei! That Peter was free from sin! Und als der Herr Jesus zu Tische saß, And as Lord Jesus sat at the table Mit seinen zwölf Jüngern das Abendmahl aß, With his twelve disciples and ate the evening meal, Da sprach der Herr Jesus: “Was stehst du denn hier? Lord Jesus said: “Why do you stand here? Wenn ich dich anseh’, so weinest du mir!” When I look at you, you are weeping!” “Und sollt’ ich nicht weinen, du gütiger Gott? “And should I not weep, kind God? Ich hab’ übertreten die zehn Gebot! I have violated the ten commandments! Ich gehe und weine ja bitterlich! I wander and weep bitterly! Ach komm und erbarme dich über mich!” O come and take pity on me!” Hast du denn übertreten die zehen Gebot, If you have violated the ten commandments, So fall auf die Knie und bete zu Gott! Then fall on your knees and pray to God! Liebe nur Gott in all Zeit! Love only God for all time! So wirst du erlangen die himmlische Freud’.” So will you gain heavenly joy.” Die himmlische Freud’ ist eine selige Stadt, The heavenly joy is a blessed city, Die himmlische Freud’, die kein Ende mehr hat! The heavenly joy that has no end! Die himmlische Freude war Petro bereit’t, The heavenly joy was granted to Peter Durch Jesum und allen zur Seligkeit. Through Jesus, and to all mankind for eternal bliss. BIOGRAPHIES Paul Daniel Paul Daniel became Music Director of the Orchestre National Bordeaux Aquitaine in 2013 and is also currently Principal Conductor and Artistic Director of the Royal Philharmonic Orchestra of Galicia. He held the same post at the West Australian Symphony Orchestra in Perth from 2009–2013. He has appeared as a guest conductor with major orchestras and opera companies throughout the world as well as holding several permanent positions. From 1997–2005 he was Music Director of ; from 1990–1997 he was Music Director of and Principal Conductor of the English Northern Philharmonia; and from 1987–1990 he was Music Director of Opera Factory. Operatic guest engagements have included the Royal Opera House Covent Garden, La Monnaie in Brussels, the Bayerische Staatsoper, Munich and the Metropolitan Opera in New York. Paul Daniel’s orchestral engagements have included performances with the Philharmonia, Philharmonic, the OAE (with whom he recorded Elijah for Decca), City of Birmingham Symphony Orchestra, Academy of Ancient Music, Orchestre de Paris, the Bavarian Radio © Frances Andrijich Symphony Orchestra, Gürzenich-Orchester Köln, Leipzig Gewandhaus, Netherlands Radio Philharmonic, Real Filharmonia de Galicia, Orchestre National Bordeaux Acquitaine, Tampere Philharmonic, , Milwaukee Symphony, New York Philharmonic, and the Los Angeles Philharmonic. Recent and future operatic plans include Lucrezia Borgia and The Marriage of Figaro for English National Opera, Gloriana for Covent Garden, a new commission by Judith Weir for the Bregenz Festival and Covent Garden, for La Monnaie in Brussels, a double bill of L’Enfant et les Sortilleges and Der Zwerg for Opéra National de Paris, Les Troyens for the Deutsche Oper Berlin, and A Village Romeo and Juliet for Oper Frankfurt. Orchestral engagements, apart from his concerts with West Australian Symphony Orchestra, include concerts with BBC Philharmonic, Royal Philharmonic, Orchestre National Bordeaux Acquitaine, Real Filharmonia de Galicia, Hamburg Symphony, Munich Rundfunkorchester, Tapiola Sinfonietta, Australian National Academy of Music, National Youth Orchestra of Great Britain and at the Bregenz Festival. His many recordings include the hugely successful CD of Elgar’s Third Symphony on Naxos, and an expanding discography with Orchestra National de Bordeaux Aquitaine. His performance of Lulu for La Monnaie, with Barbara Hannigan in the title role, has been released as an award-wining DVD. In February 1998 Paul Daniel received an Olivier Award for outstanding achievement in opera, and was awarded the CBE in the 2000 New Year’s Honours list. Claudia Huckle British contralto Claudia Huckle studied at the , London, the New Conservatory and the Curtis Institute of Music. Engagements this season include Suzuki in a new production of Madama Butterfy for Glyndebourne on Tour; Olga Eugene Onegin for Welsh National Opera and a return to the Royal Opera for their 2018 Wagner Ring Cycle. Concert plans include Schubert Mass in A fat and Beethoven Choral Fantasy with Kent Nagano and the Deutsches Symphonie Orchester; Elgar Sea Pictures and Dream of Gerontius with Hallé Orchestra and Sir Mark Elder; Handel Messiah with the Huddersfeld Choral Society and the Royal Liverpool Philharmonic Orchestra and De Falla El amor brujo with Britten Sinfonia and Mahan Esfahani. Recent opera roles include Hippolyta in Britten A Midsummer Night’s Dream for Glyndebourne Festival Opera; Mérope Oedipe with the © Dario Acosta Royal Opera, Covent Garden and Pitti-Sing The Mikado and Duchess in Torsten Rasch The Duchess of Malf for ENO. In concert she has sung Anna in Berlioz Les Troyens with Valery Gergiev and Maxwell Davies’ Hogboon under Sir , both with the LSO, Second Maid Elektra with and the Boston Symphony Orchestra and her Opera North debut as Erda in their Ring Cycle 2016. Other recent concerts include Mahler Symphony No 2 with the Malaysian Philharmonic Orchestra; Beethoven Choral Fantasy and Janacek Glagolitic Mass at the Edinburgh International Festival and Beethoven Symphony No 9 with the RTÉ National Symphony Orchestra. Graham Ross Graham Ross has established an exceptional reputation as a sought-af- ter conductor and composer of a very broad range of repertoire. His performances around the world and his extensive discography have earned consistently high international praise, including a Diapason d’Or, Le Choix de France Musique and a Gramophone Award nomination. In 2010 at the age of 25 he was appointed Fellow and Director of Music at Clare College, Cambridge, combining his work there with regular freelance work around the world. Recent collaborations have included the Orchestra of the Age of Enlightenment, Aalborg Symfoniorkester, Australian Chamber Orchestra, , , Malaysian Philharmonic Orchestra, Choir of London and BBC Singers, with forthcoming invitations from London Philharmonic Orchestra, European Union Baroque Orchestra and Musique Cordiale Festival. He has conducted and recorded world premières of a wide spectrum of composers, including James MacMillan, Judith Bingham, Giles Swayne, Vaughan Williams, , Nico Muhly, Brett Dean, Gabriel Jackson, Cecilia McDowall, and Matthew Martin. As a composer commissions have included BBC Concert Orchestra, © Ben Ealovega , National Youth Choir of Great Britain, O Duo, Park Lane Group, and the Solstice Quartet. As an animateur and through outreach work he has conducted projects in Tower Hamlets, Wigmore Hall, English National Opera and Glyndebourne Festival Opera, and overseas in Nigeria, Palestine, across Europe and the USA. He is Artistic Director of Fringe in the Fen, a music and arts festival in Fenstanton, Cambridgeshire raising funds for Macmillan Cancer Support. He studied music at Clare College, Cambridge and conducting at the Royal College of Music, London. He held a conducting scholarship with the London Symphony Chorus, has served as assistant conductor for Sir Roger Norrington, Vladimir Jurowski and Diego Masson, and acted as Chorus Master for Sir , Sir Mark Elder, Ivor Bolton, Edward Gardner, and . CAMBRIDGE UNIVERSITY CHAMBER ORCHESTRA & MEMBERS OF THE CUMS SYMPHONY ORCHESTRA

VIOLIN I Orla Papadakis, N HORN Aditya Chander, M Christopher Hedges, G James Liley, DAR Angus Bain, CAI Catherine Porter, R Robert Blyth, JN Kemper Edwards, JN Kai Konishi-Dukes, JN Grant Wilder, CHR Anahita Falaki, DOW Harry Ellison-Wright, CL Elizabeth Nightingale, JE Katherine Lee, HH Isabelle Ormsby, CTH Moritz Grimm, R James Jones, HO Jake Rowe, T DOUBLE BASS Ziruo Zhang, HH Daniel Gethin, TH Joe Cowie, CL Jessica Li, R Esther Osorio Whewell, JE Myles Nadarajah, PET Clare Rees-Zimmerman, T Rita Hess, CAI TRUMPET Erin Barnard, G Sam Brown, CC Katie Lodge, EM Sacha Lee, JE Vincent Kehoe* Joe Penaliggon, CL Harry Perkin, CL Kai Kim* Nick Smith, HO Natalie Jones, T Charlie Fraser, JN Amelia Drew, CAI FLUTE/PICCOLO Leonie Stevenson-Jones, CC FLUGELHORN VIOLIN II Jack Mainwaring, CHU Matilda Lloyd, T Peter Grishin, Q Charlotte Eves, JN Laura Alexander, G TROMBONE Jenny Whitby, PEM Susanna Pointer, F William Barnes-McCallum, CTH Mallika Buckle, K OBOE Luke Fitzgerald, CAI Kieran Reed, SE Pip Elmer, EM Jim Cooper, SID Leni Sewart, SE Adam Phillips, CL Marco Zambonini, CLH Simon Fraser, CHR Alice Wang, CHR TUBA Lizzie Millar, SE COR ANGLAIS Abbas Khan, CAI Arpan Sharma, CAI Rachel Becker, JN TIMPANI Marco Gasparetto, HH CLARINET Jack Whitehead, CAI Isaac Barkway, Q Alex Card, CL Tom Else, CC Alex Gunasekera, CC Daniel Malz, T PERCUSSION VIOLA E FLAT CLARINET Robin Otter, DOW Roc Fargas-i-Castells, SE Benjamin Graves, DAR Christina Burke, MUR Dorothy Hoskins, JE Caroline Grint, MUR Cezary Lastowski, ED Konrad Viebahn, T Kevin Heffernan, JE Arran Hope, T BASS CLARINET Agnes Fung, JE Anna Semple, TH Tara Hill, K Isabel Cocker, F BASSOON HARP Elspeth Wilson, TH Konrad Bucher, G Aidan Hilton, M Pippa Stevens, JE Robert Pearce-Higgins, M Miguel Goncalves, CL Laura Minoli, CL Siobhan Connellan, PET ASSISTANT CONDUCTOR Angela Wittmann, N John Tothill CONTRABASSOON CELLO Dominic O’Sullivan* * Guest players Wallis Power, PEM

Sophia Ramnarine, N CHOIR Our very grateful thanks to Chorus Master, Graham Ross for preparing the singers for this performance and for the support of Geoffrey Webber, Director of Music, Gonville & Caius College, of Richard Pinel, Director of Music, Jesus College, of Sarah Macdonald, Director of Music, Selwyn College and Edward Reeve and Leo Popplewell, rehearsal pianists. Sopranos Altos CLARE Jessica Kinney Anna Tindall Catherine Clark COLLEGE CHOIR Lydia Allain-Chapman Eleanor Carter Harriet Caisley Eleanor Smith Holly Holt Rhea Gupta Matilda Mills Rachel Haworth Rosie Taylor Gladys Ma GONVILLE & Caroline Daniel Lorna Price Fiammetta Fuller Gale CAIUS CHOIR Emily Myles Matilda Farmery Alice Webster Clover Willis Aleksandra Wittchen Katherine Curran Isabelle Tett Fronia Cheng Cleo Newton JESUS Amy Butterworth Charlotte Barrett-Hague Victoria Taylor COLLEGE CHOIR Charlotte Fletcher Anna Harrison Joanna Ward Serena Shah Naomi Reiss Jacqueline Rowe SELWYN Alex Forrester Emily Baycroft Eleanor Ferguson COLLEGE CHOIR Charlie Pemberton Katie Guest Emily Galvin Ursule Taujanskaite Amy Gee Catriona Benn Katie Hind Beckie Sturge Celia Petrie Maia Bear Shanna Hart CAMBRIDGE Esther Brassett Syamala Roberts Louisa Denby UNIVERSITY Natalie Mayer-Hutchings Ellie Hicks Vanessa Rau CHAMBER CHOIR Kate Shaw Polina Sosnina Becca Lockhart Anna-Luise Wagner Catherine White CUMS SYMPHONY Eli Morris Xing Ye Cheong CHORUS Jule Weber Sarah Shek Anna Bergljót Karen Ma Gunnarsdóttir Children’s Choir CHORISTERS OF Theo Amies Jacob Fitzgerald Massmiliano Rigatti Luchini JESUS COLLEGE William Barbrook Tobias Fitzgerald Ben Scott-Warren Nathan Bennett Toby Hadden Eddie Smith Olly Dunlop David Low Westcott Stark Bertie Dunlop Oliver Norfolk Will Summers ST CATHARINE’S Susanna Beale Audrey Suryadarma Sophie O’Sullivan COLLEGE GIRLS’ Teresa Garcia-Ribeiro Isabella Wickham Annabel Butler CHOIR Maya Ruocco Joanna Barrett Grainne Dignam Gabriella Zailer-Fletcher Abbie Keegan Beatrice Greenhalgh Anna Morris Isabella Rigatti Luchini Rebecca Peacock Francesca Stevenson Olivia Cleobury CAMBRIDGE UNIVERSITY MUSICAL SOCIETY Cambridge University Musical Society (CUMS) is Conductor of the CUMS Symphony Orchestra; and one of the oldest and most distinguished university a Great Conductors series was launched with the music societies in the world. It offers a world-class objective of exposing CUMS members to a succes- musical education for members of the University sion of world-class visiting conductors. and local residents, nurturing the great musicians of In February 2010 CUMS entered another new the future and providing performing opportunities phase of its development when it merged with for over 500 Cambridge musicians every year. the Cambridge University Chamber Orchestra and The Society has played a pivotal role in British mu- Cambridge University Music Club. In October 2010 sical life for almost 170 years. It has educated such the Society launched the Cambridge University luminaries as Sir Andrew Davis, Sir Mark Elder, Sir Lunchtime Concerts — a new series of weekly , Edward Gardner, Christopher chamber recitals at West Road Concert Hall show- Hogwood and Robin Ticciati, has given world casing the University’s fnest musical talent. In 2011 or UK premieres of works by Brahms, Holloway, it merged with the Cambridge University Chamber Lutoslawski, Maxwell Davies, Rutter, Saxton and Choir, which is directed by Martin Ennis and David Vaughan Williams, and has given successive gen- Lowe. erations of Cambridge musicians the experience of CUMS continues to provide opportunities for the visiting conductors and soloists including Britten, University’s fnest student soloists and conductors Dvořák, Kodály, Menuhin and Tchaikovsky. Since by awarding conducting scholarships and concerto the 1870s, CUMS has enjoyed the leadership of prizes, and it actively encourages new music by several of Britain’s fnest musicians, including Sir running a composition competition and premièring Charles Villiers Stanford, Sir David Willcocks, Sir at least one new work each year. Recent highlights Philip Ledger, and, from 1983 to 2009, Stephen have included Wagner’s Parsifal (Act III) conduct- Cleobury. ed by Sir Mark Elder, a recording of The Epic of In 2009 Stephen Cleobury assumed a new role as Everest’s original score for the British Film Institute, Principal Conductor of the CUMS Chorus, and Sir a concert of Haydn and Mendelssohn at Kings Place, Roger Norrington was appointed as Principal Guest London conducted by Sir Roger Norrington and Conductor. Martin Yates, ‘one of the most exciting Verdi’s Otello (Act I) conducted by Richard Farnes. and versatile British conductors of his generation’ in the words of The Times, joined the team as Principal

Joel Sandelson conducting CUMS Symphony Orchesta in Bonn University Hall, July 2016

© Anne Presanis CUMS OFFICERS 2016/17 Cambridge University Musical Society is a registered charity, limited by guarantee (no.1149534) with a board of trustees chaired by Stuart Laing. The Society also administers The CUMS Fund with its own board of Trustees. The day to day running of the ensembles is undertaken by the student presidents and their committees with professional support.

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