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Cherubic hymn tchaikovsky pdf

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Cheruvikon (χερουβικόν: χερουβικόν) is an ordinary Chereum hymn (Greek: χερουβικὸς ὕμνος, Херувімскаѧ пҍснь), sung at the Grand Entrance of the Byzantine liturgy. The anthem symbolically includes those present at the liturgy in the presence of angels gathered around God's throne. History Origin The was added as a troparion to the Divine Liturgy under Emperor Justin II (565 - 578), when the separation of the room where gifts are prepared from the room where they are consecrated made it necessary that the Liturgy Liturgy, from which no christened, was excluded, began with a . This procession is known as the Grand Entrance because celebrities must enter the choir at the altar screen, later replaced by an iconostasis. The offertorium song in the traditions of the Western plainchant was basically a copy of the Byzantine custom, but there was proper mass singing that changed regularly. Although its liturgical concept already existed by the end of the 4th century, the cherub itself was created 200 years later. The Grand Entrance as a ritual act is necessary for the procession with the Gifts, while simultaneous prayers and ritual actions are performed by the . As a procession tropier, the cherub has to travel a long way between a prosthesis, a room outside the apsis and a sanctuary that was divided by changes in sacred architecture under Emperor Justin II. The first part is singed before the celebratory begins its prayers, there were one or two simultaneous parts, and they all followed like a gradual ascent on different steps within the Grand Entrance. Poems 2-5 was performed by a soloist called monophonaris from ambo. Conclusion with the last words of verse 5 and allelouiarion sing in dialogue with domestikos and monophonary. It is not clear whether the three times the sacred hymn refers to the shrine of Anapora or another 5th-century hymn known as the trizagion in Constantinople, but also in other liturgical traditions such as the Latin Gallician and Milanese rites. As for the old custom of Constantinople, trisagioon was used as the troparion of the third antiphon on divine liturgy, as well as hesperino. In the West there were liturgical customs in Spain and France, where trisagion replaced the great doxology during holy Mass on smaller holidays. The large entrance troparion (at the beginning of the second part of the divine liturgy that excluded the catechumens) was also a prototype of the offertorium genre in the western plainchant, although its text appears only in a certain custom Missa graeca is celebrated on and during the patronizing feast of the Royal Abbey of Saint-Denis , after the Vita of the latter became associated with pseudo-Dionysus. According to local bilingual custom, the hymn was sung in both Greek and Latin. Today, the separation of the prosthesis is part of the early history of the Constantopolitan Rite (akolouthia asmatike). As for The Constantine Customs, there are many different local customs in all countries of the world, and there are urban and monastic choral traditions in different languages translated. The eczematic tradition of Isaiah Trizagion, or the three-time sacred hymn to which John Chrysostom spoke, could only refer to the sanctuaries of Anapora, taken from the Old Testament, from the book of the prophet Isaiah, in particular (6:1-3): Καὶ ἐγένετο τοῦ ἐνιαυτοῦ, οὗ ἀπέθανεν Ὀζίας ὁ βασιλεύς, εἶδον τὸν κύριον καθήμενον ἐπὶ θρόνου ὑψηλοῦ καὶ ἐπηρμένου, καὶ πλήρης ὁ οἶκος τῆς δόξης αὐτοῦ. [2] καὶ σεραφὶμ εἱστήκεισαν κύκλῳ αὐτοῦ, ἓξ πτέρυγες τῷ ἑνὶ καὶ ἓξ πτέρυγες τῷ ἑνί, καὶ ταῖς μὲν δυσὶν κατεκάλυπτον τὸ πρόσωπον καὶ ταῖς δυσὶν κατεκάλυπτον τοὺς πόδας καὶ ταῖς δυσὶν ἐπέταντο. [3] καὶ ἐκέκραγον ἕτερος πρὸς τὸν ἕτερον καὶ ἔλεγον Ἅγιος ἅγιος ἅγιος κύριος σαβαώθ, πλήρης πᾶσα ἡ γῆ τῆς δόξης αὐτοῦ. And it happened in the year king Osias died, that I saw the Lord sitting on a high and elevated throne, and the house was full of his glory. And the seraphim stood around him, each with six wings, and with two they covered their faces, and with two they covered their feet, and with two they flew. And one exclaimed to the other, and they said, Holy, holy, holy, the Lord of the masters! The whole earth is full of His glory! in the sermon, John Chrysostom interpreted Isaiah and the singing of the divine liturgy as a whole (neither cherubicon nor trisagio) as an analogue act that united with eternal angelic choirs: Ἄνω στρατιαὶ δοξολογοῦσιν ἀγγέλων κᾶτω ἐν ἐκκλησίαις χοροστατοῦντες ἄνθρωποι τὴν αὐτὴν ἐκείνοις ἐκμιμοῦνται δοξολογίαν. Ἄνω τὰ Σεραφὶμ τὸν τρισάγιον ὕμνον ἀναβοᾷ· κάτω τὸν αὑτὸν ἠ τῶν ἀνθρώπων ἀναπέμπει πληθύς· κοινὴ τῶν ἐπουρανίων καὶ τῶν ἐπιγείων συγκροτεῖται πανήγυρις· μία εὐχαριστία, ἓν ἀγαλλίαμα, μία εὐφρόσυνος χοροστασία. At a high level, armies of angels give glory; below, the men standing in the church forming a choir, imitate the same toxonia. Above, Seraphim declaring the three times the holy hymn; Below, a lot of men sends up the same. A common holiday of heaven and earth is celebrated together; one , one jubilation, one joyful choir. Anti-erubico Herubikon refers to the usual mass chant of divine liturgy attributed to John Chrysostom, because it must be sung during the year, but sometimes it is replaced by other tropes, the so-called anti-herrubic when other formulas of divine liturgy are celebrated. On Holy Thursday, for example, the cherub was and remains replaced by the troparion at your mystical dinner (Τοῦ δείπνου - τοῦ μυστικοῦ) according to the liturgy of St. Basil, while during the liturgy of the Presvoz The Protoyedia Now the Forces of Heaven (Νῦν αἱ δυνάμεις τῶν οὐρανῶν) was sung, and the celebration of Prote Anastasis () uses the trail of St. Let all mortal flesh remain silent (Σιγησάτω πᾶσα σὰρξ βροτεία). The last troparion is also sometimes used in the consecration of the church. Text In the modern traditions of Orthodox chants, its Greek text is sung not only in old translations, such as Old Slavic or Georgian, but also in Romanian and other modern languages. In the Greek text, the introductory provisions are part of, and the plural number of the first person becomes apparent only with the verb ἀποθώμεθα let's put aside. The Slavic translation reflects this closely, while most other translations introduce the final verb in the plural of the first person already in the first line (Latin imitamur, Georgian vemsgavsebit, Romanian nchipuim we imitate, present). Greek Οἱ τὰ χερουβὶμ μυστικῶς εἰκονίζοντες καὶ τῇ ζωοποιῷ τριάδι τὸν τρισάγιον ὕμνον προσᾴδοντες πᾶσαν τὴν βιωτικὴν ἀποθώμεθα μέριμναν Ὡς τὸν τῶν ὅλων ὑποδεξόμενοι ταῖς ἀγγελικαῖς ἀοράτως δορυφορούμενον τάξεσιν ἀλληλούϊα ἀλληλούϊα ἀλληλούϊα 10th century Latin transliteration of Greek text I ta cherubim mysticos Iconizontes ke ti zopion triadi ton trisagyon ymnon prophagentes passa nin biotikin apothometa merinnan Os ton basileon ton olon Ipodexomeni tes angelikes aoraton dorifor0on taxesin alle. Latin Cui cherubim mystic imitamur et vivifice trinitati ter sanctuary ẏmnum offerimus Omnem nunc mundanam deponamus sollicitudinem Sicuti regum suscepturi Cui ab angelicis invisibiliter minitur ministra or cube A'll'E'L'E let us now set aside all earthly worries that we can get the king of all, accompanied by invisible angelic orders. Aleluya-Church Slavoslavskaya херѹвимы тайнѡ ѡбразѹюще, животворѧщей Trinity трисвѧтую the Всѧкое of the whining Ꙗкѡ Царѧ all the lifting, the aggregate невидимѡ дорѵносима ranks. Аллилѹіа11 Translitered Church Of Slavonic ze Heh henuvi mystery zbruyuite, I zivite Treiche trisvyat pěsňĭ come down, Shake neish otložimŭ to Yakin da Kare vsěhŭ podŭimemŭ, ángelĭskimi invisible dorỳnosíma znmi. Aliya Georgian რომელნი ქერუბიმთა საიდუმლოსა ვემსგავსებით, და ცხოველსმყოფელისა სამებისა, სამგზის წმიდასა გალობასა შენდა შევწირავთ, ყოველივე აწ სოფლისა დაუტეოთ ზრუნვა. [13] და ვითარცა მეუფისა ყოველთასა, შემწყნარებელსა ანგელოსთაებრ უხილავად, ძღვნის შემწირველთა წესთასა. ალილუია, ალილუია, ალილუია. Translite georgian romelni qerubimta saidumlosa vemsgavsebit, da tskhovelsmq'opelisa samebisa, samgzis ts'midasa galobasa shenda shevts'iravt, q'ovelive ats' soplisa daut'eot zrunva. da vitartsa meupisa q'oveltasa, shemts'q'narebelsa angelostaebr ukhilavad, dzghvnis shemts'irvelta ts'estasa. aliluia, aliluia, aliluia Romanian (quote needed) Noah, care pe heruvimi cu tain'nchipuim, shi f'c'thoarei de viaţă Tremi Antreit-sponte c'ntare aducem, toat' grija cea lumc Lepeds. Ka-pe-Emeratul tutudor, sa-primum, pe chelenjurat and chip can't be taken de stele Angeresti. Aliluya, Aliluya, Aliluya. Due to the destruction of Byzantine musical manuscripts, especially after 1204, when the Western Crusaders banished the traditional cathedral rite from Constantinople, the chants of cheruvicon appear quite late in the musical notation of monastic reformers, in liturgical manuscripts not earlier than the end of the 12th century. This explains the paradox as to why the earliest respondable sources, which have survived until now, are of Carolingian origin. They document the Latin reception of cherubs, where it is considered the earliest prototype of the mass genre of chants offertorium, although there is no real procession of gifts. Latin cherub (early 11th century) is added to the 10th century anthology dedicated to Boethius (GB-Lbl Ms. Harley 3095, f. 111v). The Latin cherubicon Missa greca The oldest source survived is the sacramentary (Adrianum) with the so-called Miss Greek, which was written on or for liturgical use in the Stift Canoness (Essen near Aachen). The translitered cherub in the center, like the main part of Missa greca, was replaced by paleofran neums between text lines. The Paleofran neumes are adiastic, and no manuscript with Latin cherub has survived in diasthematic neumes. However, it must be melos mode E, like the early Byzantine cherubs who have the basic intonation of echo plagios deuteros. In this particular copy of Adrian's Missa greca was clearly conceived as proper mass singing for Pentecost, because the cherub was classified as offertorium, followed by the Greek Sanctus, the congress of the divine liturgy, and finally the commune Factus est repente, the correct singing of Pentecost. Other manuscripts belonged to the Abbey of Saint-Denis, where Miss Greek was celebrated during Pentecost and in honor of the patron during the holiday week (octave) dedicated to him. Sacramentalities without musical notation transliteranced the Greek text of cherubs into Latin symbols, while Saint-Denis's books with musical notation translated the text of the troprion into Latin. Only Adrian Essen or Corvey provided Greek text with notation and served obviously to prepare cantors who did not know Greek very well. Herubicon asmaticon In the tradition of the cathedral rite of Hagia Sofia, there was only one melody in the mode of E (echo plagios devteros, echoes of devteros), which is preserved in Asmatic (choral books) and, in full form, as cherouvikon asmatikon in the books of A4 and 15th century. The beginning of the cheruvicon asmaticon in echo plagios devteros with medial enemas The manuscript of Akokuthaya about 1400 (A-Wn Theol. gr. 185, f. 255v) In this later development, domestikos, the leader of the right choir, sings intonation, and the right choir performs the beginning to μυστικῶς. Then the domestikos intervenes with kalopismos over the last syllable - and teretismos (Japanese Choir completes the column with the last word εἰκονίζοντες. The left choir is replaced by a soloist called Monophonaris (ἀλληλούϊα μονοφωνάρις), presumably a lampadario or leader of the left choir. but composed implementation, sometimes even the name of the was indicated. Only one manuscript, an anthology of 14th century asma, is preserved in the collection of the archimandrite Santisimo Salvatore Messina (I-ME Cod. mess. gr. 161) with the side of the psalmion. It provides the execution of monophonium along with acclamations or antiphons in honor of the Sicilian King Frederick II and can be dated by his time. Manuel Chrysasas's herubicon in Papadium echoes protos, is transcribed according to Panagiotes New Chrysaphes (GB-Lbl Ms. Harley 5544, f. 131v) The Herubicon palatinon Another shorter version, composed in echoes plagios devteros without any teretismoi, inserted sections with abstract syllables, is still performed during the celebration of the imperial court of Constantinople during the 14th century. The longer development of the cheruvicon attributed to John Kukuzele was transcribed and printed in the chants used today by protopsalts. Papadik cherubic cycles Today's common practice is to perform cherubs according to the echo of the week (). One of the first sources with the Oktoehos cycle is the manuscript of Akokuthiai Manuel Chrysafes (GR-AOi Ms. 1120), written in 1458. He composed and recorded his own cycle of 8 cherubs in the Papadium melos of Octoejo. To this day, the protopsalts of the Patriarchate of Constantinople must contribute to their own implementation of papal cycles. Since the length of the cherubs was originally adapted to the ritual procession, the transcriptions of the printed editions according to the New Method differ between the three cycles. Short for a week (since the divine liturgy has become a daily ministry), longer on Sunday and designed for festival events when the bishop or abbot joined the procession. Notes No. b Parry (1999), page 117. Bright Man page 532, page 9). For a detailed list of all simultaneous ritual acts and special celebrations in the Cathedral of Hagia Sofia see Moran (1979, 175-177). To see evidence in the preaching explanation of the Old Gallic liturgy pseudo-Herman (1998). A classic translation of the Old Testament . Isaiah 6. myriobiblos.gr (in Greek). Library of the Church of Greece. PG 56 (1862), count 97. He's a bright man. (1896, 377 and 379). - Transliteration according to the 10th Century CarolingIan Sacrament (D-D'l Ms. D2, f. 203v). About the specific retography of Latin transliteration and various medieval textual versions of the Greek cherubs (Wanek 2017, 97; Moran 1979, 172-173). The quote after the source OF THE GB-Lbl Ms. Harley 3095, f. 111v. questions пҍцнь (Sarafov 1912, 203-210). Examples of Bulgarian tradition are the Cheruvim Song performed by Patriarch Neophyte (monodic tradition) and the so-called Belgar Singing closely associated with Ukrainian and Russian traditions (Starosimovsky Rosep singer, Or several arrangements of more or less well-known composers of the 19th and 20th centuries, etc.). The je variant (transcription for ѥ instead of zenith) is common for early sources of East Slavic territory (Kievan Rus). Cm. transcription of cherubs in the Chant Center of the Georgian Patriarchate, performed in line with the tradition of the Monastery of Gelati: Georgian cherub (school of the Monastery of Gelati). Shavnabad Ensemble. According to the school of Vasily and Poliyvktos Karbelashvili (John Graham on the transcription movement): The first part of the cherubs (Karbelashvili School). Church choir of Anchishati. The third version with a female ensemble: Georgian cherub in garden-kilo (aircraft manner) in the traditional sixth mode (plagios devteros). The second part of the cherubs is singed by the tradition of the monastery of Gelati: The second part of the Georgian cheruvicon (school of the monastery of Gelati). Church choir of Anchishati. Another tradition: The second part of the Georgian cheruvicon (Karbelashvili School). Church choir of Anchishati. glas I. Munestrea Kamerzani. Ca per 'mp'ratul (glas I). Cathedral of the Patriarchate of Bucharest: Gabriel Bogdan. Necessary clarification - D-D'l Ms. D2, f. 203v. Adrianum is called the sacramentary, which was sent by Pope Adrian I, after Charlemagne asked one of Gregory the Great. The Herubicon, according to the manuscript of the British Library of Ms. Harley 3095, was reconstructed by Oliver Gerlach (2009, p. 432-434). The reconstruction of the melody in Ms. D2 (D-D'l) was done by Marcel Perez in collaboration with the Orthodox propuss of Lycourgos Angelopoulos. Michel Huglo (1966) Sources of cherubs with musical notations, the Greek Mass was held for Saint-Denis at the Abbey of Paris, Carolingian mausoleum. Ever since the patron was identified with the ecclesiastical father of Pseudo-Dionysius Areopagita during the time of Abbot Hilduin, when Byzantine heritage was obtained to improve diplomatic relations between Louis Pious and Michael II, a Greek mass was held in honor of the patron saint. Services were to be celebrated in Greek and Latin, see Ordo officii Saint-Denis (F-Pn lat. 976, f. 137) and Greek Lectionary (F-Pn gr. 375, ff. 153r-154r, 194v). Konstantinos Terzopoulos (2009) encountered publications that Konstantinos Byzantios (c. 1777-1862) and Neophyt Rilski both published The Centocon of Constantinople, with sources of mixed rite during the Palaiologists dynasty. One of the manuscripts he used to illustrate is 15th century Akolubiai with cheruvicon asmaticon (GR-An Ms. 2406). View transcriptions by Neil Moran (1975). Moran (1979). - GR-AN Ms. 2458, ff. 165v-166r (almost one page) (Akolouthiai written in 1336). Greek (Kyriazides 1896, page 278-287) and Bulgarian anthology (Sarafov 1912, p. 203-210). Kappel Romana (February 1, 2013) under the direction of Alexander Lingas sings an echo version of Manuel Chrysasaph with her teretism based on the transcription of Ivelon 1120 Ioannis Arvanitis and in the simulated acoustic medium of Hagia Sofia. Listen to Tosivulos Stanicas (1961), who sings his own version of the cheruvicon for echo-plagios-protos. A huge collection of implementations of different periods was published by Neoklis Levkopoulos in Psaltology (2010). Links Sources Dusseldorf, University of Thendsbybliotec, Ms. D2. Sacramentary, written in Corvi (late 10th century). Ruotbert. London, British Library, Ms. Harley 3095. A obscured anthology dedicated to the death of Boethius and his De consolatione philosophiae and sequentary, probably written in Cologne (late 10th century), one leaf was added after the first part with the resurrection of the masses, using the symbol of Athanasius and the Latin cherubon (early 11th century). Paris, Library, Greek Foundations, Mr. 375. Greek Missal Lecture (Pentecost with Divine Liturgy at Easter and stichera heothina, ) of the Royal Abbey of Saint-Denis (1022). Paris, Library, loves Latin, ms. 976, Ph. 137. Miss Greck at the Order of Services (Ordo officii) of the Royal Abbey of Saint-Denis (around 1300). Kukuzeles, Ioannis; Corones, Xeno; Claes, John (1400). Vienna, Esterrechiche National Bilitec, Tresta. theol. Gr. 185. Βιβλίον σὺν Θεῷ ἁγίῳ περιέχον τὴν ἄπασαν ἀκολουθίαν τῆς ἐκκλησιαστικῆς τάξεως συνταχθὲν παρὰ τοῦ κυροῦ Ἰωάννου τοῦ Κουκουζέλη. Thessaloniki. Panagiot new chrysafs. London, British Library, Harley Ms 5544. Papadyk and Anastasiamaturin Chrysafes New, and incomplete Anthology for Divine (17th century). British Library. Received on September 7, 2013. Brightman Editions, Frank Edward (1896). Liturgies, eastern and western, being texts original or translated from the main liturgies of the church. 1: Oriental liturgies. Oxford: Clarendon. John Goldoust (1862). Minh, Yuak-Paul (Ἔπαινος τῶν ἀπαντησάντων ἐν τῇ ἐκκλησίᾳ, καὶ περὶ εὐταξίας ἐν ταῖς δοξολογίαις. Καὶ εἰς τὸ: Εἶδον τὸν Κύριον καθήμενον ἐπὶ θρόνου ὑψηλοῦ καὶ ἐπηρμένου Homilia in laudem eorum, qui comparuerunt in ecclesia, quaeque moderatio sit seranda in divinibus laudibus. Point in illud, vidi dominum sedentem in solio excelso (a) (Isai. 6.1)Patrol Graeko-Latina. 56: col. 97-107. Kyriaides, Agatengelos (1896). Ἓν ἄνθος τῆς καθ' ἡμᾶς ἐκκλησιαστικῆς μουσικῆς περιέχον τὴν ἀκολουθίαν τοῦ Ἐσπερινοῦ , τοῦ Ὅρθρου καὶ τῆς Λειτουργίας μετὰ καλλοφωνικῶν Εἱρμῶν μελοποιηθὲν παρὰ διαφόρων ἀρχαίων καὶ νεωτέρων Μουσικοδιδασκάλων. Istanbul: Alexandros Noismatides. Levkopoulos, Neoklis, Ed. (2010). Thessaloniki. Received on September 5, 2012. Pseudo-Hermaine (1998). Expositio Antiquae Liturgiae Gallicanae. In James W. McKinnon; William Oliver String; Leo Traitler (Early Christian period and Latin Middle Ages. ISBN 0393966941. Raya, Joseph (1958). Byzantine liturgy. Tournae, Belgium: Societe Saint Jean l'Evangelist, Desclee and Cie. Sarafov, Petĕr V. (1912). Рѫководство The Guide to Practical and Theoretical Study of Oriental Church Music includes an anthology of works by John Kukuzel, Doxastique by Mine Yakovos and Konstantinos Protopsalt, Resurrection and Anthology for Urenna and Divine Liturgy. Sofia: Petr Glushkov. Magpie, Reverend L. (1999). Orthodox prayer book. South Canan, PENNSYLVANIA 18459 USA: Seminary of St. Tikhon Press. ISBN 1-878997-34-3.CS1 maint: location (link) Gerlach Research, Oliver (2009). Im Labyrinth de Octachos - zber die Rekonstruktion mittelalterlicher Improvisationspraktiken in the liturgy Musik. 2. Berlin: Ison. Michel Huglo (1966). Westrup, Jak. Les chants de la Missa Greca de Saint-Denis. Essays presented to Egon Velez. Oxford: Clarendon: 74-83. Neil K. Moran (1975). Ordinary chants of Byzantine Mass. Hamburger Beitrege zur Musikvissenshaft. 2. Hamburg: Verlag der Musikalenendung K.D. Wagner. 86-140. ISBN 978-3-921029-26-8. Moran, Neil K. (1979). Musical Gestaltung Grand Entrance Ceremony in the 12th century in accordance with the rite of Hagia Sofia. Yahrbuh der Osterreichshen Bysantinistic. 28: 167–193. Perry, Ken; David Melling. (1999). Malden, Massachusetts: Blackwell Publishing. ISBN 0-631-23203-6. Terzopoulos, Konstantinos (2009). Patriarchal chants from the notebook of Konstantinos Byzantios for Tipicon: 1806-1828. 2nd International Conference of the American Society of and Hymnography (ASBMH-2009). Presentation (move the cursor on the left side to move between slides). Vanek, Nina Maria (2017). Greek and Latin cherubs. Plainsong and medieval music. 26 (2): 95–114. doi:10.1017/S0961137117000043. External relations of the Herub hymns (English and Greek) Georgian Chant Graham, John A. Georgian history chant-transcription movement. Georgian chants. CD to learn the Georgian Chant of Divine Liturgies (Gelati Monastery School). Shavnabad No. Tbilisi: Shavnabad Ensemble. Anchishat Choir. The Old Slavubian Cherubim Chants of Cheruvim Song (1st Voice) in The Demesven Rosepeem (17th century) performed by the ensemble Chronos. Cheruvim Song (5th Voice) performed by Neophyte, Metropolitics of Russia. Chervim Song (1st Voice) in the Old Bulgarian Song. St. Petersburg: Optin Pustin Men's Choir. Chervim Song in the Common Rosepeem. Regent's Church Choir. Cheruvim Song in Starosim's Rosepeem. Minsk: Choir of St. Elizabeth's Monastery. L.Vovsky, Gregory F. Cheruvim Song. Women's Ensemble of the Regent's Church Choir. Castalsky, Alexander Dmitrievich. Cheruvim Song. Saratov: Holy Trinity Choir. Papadik Herubica Manuel Chrysafes; Ioannis Arvanitis (2013). Cherouvikon echoes protos with teretismos. Roman's Chapel. Focaeos, Theodoros. Cherouvikon synthomon (short version) echo changes in performance by Dionysios Firfires. Stanica, Tosivulos (1961). Cherouvikon echoes the plagios protos performed by the composer. 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