Luther College Joan deAlbuquerque, conductor

2016 MIDWEST TOUR

1 Program

JOAN To be selected from the following: deALBUQUERQUE, CONDUCTOR Dance of the Jesters (1873) Peter Ilyich Tchaikovsky (1840–1893) Joan deAlbuquerque was Arr. Ray Cramer appointed director of bands at Luther College in 2011. She conducts the Luther Everything Beautiful (2014) College Concert Band, Wind Samuel Hazo (b. 1966) and Percussion Ensemble, and Varsity Band. Prior to Rio Grande (2015) joining Luther College, deAlbuquerque served as Michael Daugherty (b. 1954) the associate director of bands at California State University, Long Beach and as interim director Wind Quintet in C Major, Op. 79 (ca. 1898) of bands at Adams State College in Alamosa, August Klughardt (1847–1902) Colorado. An experienced public school teacher, she was director of bands at Pinckney High School IV. Adagio–Allegro molto vivace in Michigan, where she conducted the wind Norse Wind Quintet: Ziggy Mustain, Kierra Blackstad, symphony and marching band in addition to teaching Ches Craig, Timothy Radermacher, Nathan Fippinger instrumental and general music at the elementary and middle school levels. A Weekend in New York (2008) Philip Sparke (b. 1951) Professor deAlbuquerque earned a doctor of music arts degree in wind conducting from the University of North Texas as a student of Eugene Migliaro Corporon. She holds a master of music degree in INTERMISSION wind conducting from Michigan State University, where she studied with John Whitwell. A graduate of Macomb Community College, deAlbuqerque earned Star Wars (Main Title) (1977) a bachelor of music education degree from Michigan John William (b. 1932) State University. arr. Stephen Bulla

As a guest conductor, clinician, and adjudicator, Molly on the Shore (1918) deAlbuquerque has worked with middle school and (b. 1882–1961) high school bands throughout the Midwest, Western United States, and Israel. She has presented clinics and workshops for the Southern California School Transcendent Journey (2010) Band and Association (SCSBOA) and Tau Rossano Galante (b. 1967) Beta Sigma, and has conducted at conferences for the SCSBOA, California Band Directors Association, Who Puts His Trust In God Most Just College Band Directors National Association national Johann Sebastian Bach (1685–1750) conference (CBDNA), the Music Educators National Arr. James Croft Conference, and the Iowa Bandmasters Association (IBA). Stars and Stripes Forever (1896) A regular contributor to the Teaching Music through John Philip Sousa (1854–1932) Performance in Band series, published by GIA Publications, deAlbuquerque has also written for the Kappa Kappa Psi/Tau Bet Sigma publication, The Podium. She is on the board of the Northeast Iowa Bandmasters Association as the college affairs representative and is a member of IBA, CBDNA, Pi Kappa Lambda, Phi Kappa Phi, and Tau Beta Sigma.

2 Notes

Dance of the Jesters (1873) Q&A WITH deALBUQUERQUE Peter Ilyich Tchaikovsky (1840–1893) Arr. Ray Cramer What are your expectations of Concert Band members? This dance is taken from incidental music written for the bal- let The Snow Maiden. The Snow Maiden retells the Russian You’re not just there to play your part—that’s so folktale of Snegurochka, a beautiful snow nymph who yearns small compared to the big picture. I want the to be human. Her mother, Spring, bequeaths the Snow person there, not just the part. You can’t just show Maiden with the ability to know mortal love, but when the up, be on time, and know your notes. I need you to Snow Maiden falls in love with a mortal man, she melts away show up, be on time, know your notes, and love it. I from the warmth produced by her heart and by living under want to know that every member of Concert Band, the sun. is giving 100 percent of themselves, because I guarantee I’ll give 110 percent. Always. Tchaikovsky’s music uses a bevy of Russian folk songs; this nationalism was at least partially inspired by the style of What’s your favorite thing about directing? fellow Russian composer Nicolai Rimsky-Korsakov. Like his Hearing the difference between where we are at much more famous music from the Nutcracker, The Snow the beginning of the year to where we are at the Maiden employs plot devices to maximize the number and end of the year is just so exciting. When we have types of melodies used through spectacular displays like this a concert, it’s not so much about how great we play, dance of jesters—also translated as “tumblers.” The light- but how much we’ve grown to that point. hearted, athletic music mirrors the dancers on stage. I just love that.

What do you like most about Luther? When they interviewed me they told me, “This place Everything Beautiful (2014) is special,” and I thought, “Yeah, okay, sure…” But Samuel Hazo (b. 1966) it really is. Luther’s really a very special place. Truly. The title Everything Beautiful comes from a line in the film When I came here, everyone welcomed me with Sleepless in Seattle when Tom Hanks’ character describes open arms and open doors. The Midwest is just so his wife: “She made everything beautiful.” Composer Samuel friendly. It’s just more like family. And I want people Hazo uses this line to describe the piece’s dedicatee, educa- to think of the Luther band program as their family, tor Chuck Campbell. Each movement of this requiem, “The no matter what group they are in, because I think Stillness of Remembering,” “Irish Tune,” and “While I Think on that’s something that makes Luther very special. Thee, Dear Friend,” corresponds to a memory Hazo has of Campbell. What are your goals for the Luther band program? The melody of “Stillness of Remembering” started at the I want to keep growing the quality of the program, piano, moments after Hazo learned, via email, of Campbell’s focusing on recruiting players at the highest level. passing. He writes, “There are very few textures that express I’d say Concert Band is among the top tier of under- pain and joy simultaneously; holding that balance between graduate ensembles, but the goal is to continuously the optimism of open voicing and the introspection of subtle make it better. And when you raise the level of the note clusters.” The title is from Steve Nicks’ famous song top group, you automatically raise the level of the “Dreams.” other two bands. It’s also so important to maintain the feeling of the Luther band program as a family, Like a heartbeat drives you mad regardless of ensemble. in the stillness of remembering What you had and what you lost, What are you most looking forward to about and what you had, and what you lost. tour? Making music with my students. I admit that I’m Irish tunes are often associated with wind band music; the exhausted at the end of tour, because it’s late nights piece Molly on the Shore by Percy Grainger, featured later in and early mornings, but it’s really a lot of fun, and this program, embodies the style. Hazo’s second movement, it’s where I think we really spend the most time “Irish Tune,” is not a folk tune but instead an original melody. bonding, building that Luther band family. He connects this movement to Campbell through the dedica- tee’s love of Irish Tune from County Derry—another Grainger piece. In the last year of his life, Campbell conducted Irish Tune from County Derry at the Kentucky Music Educators’ 1 Program Notes

TOUR SCHEDULE convention. In celebration and mourning, an ensemble Friday, March 18 / 7 p.m. played that same piece a year later without a conductor. First English Lutheran Church, North Site Movement three takes its name from the last couplet of Appleton, Wis. William Shakespeare’s “Sonnet 30”: Saturday, March 19 / 7 p.m. King of Kings Lutheran Church But if while I think on thee, dear friend, Woodbury, Minn. All losses are restor’d and sorrows end. Sunday, March 20 / 8:15 a.m., 9:30 a.m. Palm Sunday Services Hazo ends Everything Beautiful as such because “this final King of Kings Lutheran Church movement is the permission to feel the joy he (Campbell) Woodbury, Minn. absolutely wishes for each of us; to be our whole selves.” —Adapted from notes by the composer Sunday, March 20 / 7 p.m. Westby High School Westby, Wis. Rio Grande (2015) Michael Daugherty (b. 1954) Monday, March 21 / 7:30 p.m. North Iowa Community Auditorium In Rio Grande, Daugherty recreates with music a land- Mason City, Iowa scape that he describes as “stark, haunting, agitated, and Tuesday, March 22 / 7 p.m. magestic.” The Rio Grande flows from southern Colorado Galesburg High School Auditorium into the Gulf of Mexico near Brownsville, Texas. The river is Galesburg, Ill. politically significant for the border it demarcates between the United States and Mexico but its natural significance Wednesday, March 23 / 11:30 am is utmost in the Big Bend National Park. Through this arid, Dubuque Senior High School Auditorium magical, canyon-speckled place the Rio Grande is a vital Dubuque, Iowa life source. Thursday, March 31 / 7:30 p.m Center for Faith and Life Daugherty builds this landscape with a throbbing percus- Luther College sion section that forms an undercurrent for the angular, Decorah, Iowa high-pitched motifs first heard in the woodwinds. These angular motifs are passed around the ensemble. This theme is interspersed with “ghostly Mexican mariachi music echoing faraway through the canyons” in the wood- RECORDINGS Available on site winds and trumpets. Morning Sun Upon Rio Grande for symphonic band was premiered by the the Wild Prairie North Texas Wind Symphony last fall. It was commissioned Rose is a recent by that ensemble plus a consortium of bands that includes Luther College the Luther College Concert Band. Recordings release (2015) —Adapted from notes by the composer and features 12 live performance A Weekend in New York (2008) selections of Philip Sparke (b.1951) deAlbuquerque’s Philip Sparke, a British composer, was commissioned to Concert Band. write a piece for the U.S. Army Field Band on an “Ameri- can theme.” Thankfully, he had just returned from a week- This and other recordings may be purchased online end in New York City and therefore had plenty of inspira- at luther.edu/music or by calling the Luther Book tion. Although wary of the Big Apple clichés, Sparke writes Shop at (888)-521-5039. of his trip that “this was one time when the cliché and the reality were satisfyingly the same!”

The piece begins in Manhattan with a sonic description of this bustling borough’s cityscape. A laid-back blues alto solo is taken up by the whole band but inter-

2 Program notes compiled and written by Jaci Wilkinson, visiting assistant professor of library and information studies

rupted by faster music that again leads into a street scene. ter not too unlike that of the underlying reel Sparke writes that these transitions between sections mim- tune. Melody seems to me to provide music ic “the snatch of music that the passer-by briefly hears” with initiative, wheras (sic) rhythm appears to passing by jazz clubs in the city. The percussion sets the me to exert an enslaving influence. For that mood with the flavor of rhythm it uses. A cymbal played reason I have tried to avoid regular rhythmic with a brush evokes sultry, smoke-filled nightclubs. That domination in my music—always excepting transitions to a Copeland-esque syncopated woodblock, irregular rhythms, such as those of Grego- which melts into a jazzy and energetic cymbal pattern. rian Chant, which seem to me to make for After this high-speed chase through clubs and city streets, freedom. Equally with melody, I prize discor- the listener is eventually brought back to the expressive dant harmony, because of the emotional and lyricism of the opening material. compassionate sway it exerts.” —Adapted from notes by the composer Molly on the Shore is certainly light, lilting, and almost stilted, particularly in its use of triplets on the first beat of Star Wars (Main Title) (1977) the measure. John William (b. 1932) arr. Stephen Bulla Epic is an adjective easily thrown around in everyday Transcendent Journey (2010) language, but few would argue that John Williams’ main Rossano Galante (b. 1967) theme for the Star Wars movies can go by any lesser de- With the first sounds ofTranscendent Journey, exhilarat- scriptor. The theme premiered with the firstStar Wars film ing, big, dissonant chords pull in the listener. This introduc- in 1977 and achieved greater recognition with each install- tion begins the “journey” and gives a melodic hint, stated ment of the series. With the sounds and story of The Force by horns, to the heroic main theme. Galante’s composi- Awakens fresh in the public’s mind, the 2016 Concert tional background is in film music, and this indeed sounds Band Spring Tour seemed like a perfect time to bring the like the beginning of an epic movie. The main theme Star Wars Main Title to the concert stage and showcase evokes the heroic, yet still beautiful, quality of the melody. the work in all its epic grandeur. Given Galante’s training as a trumpet player, it comes as no surprise that this main theme begins in the trumpet sec- This transcription by Stephen Bulla, former staff arranger tion before moving to the horns and woodwinds. Galante for the United States Marine Band, premiered under the writes, “I feel this is a melody that transcends all my baton of John Williams and the Marine Band in 2003. It others.” Fast-paced, rhythmically precise ensemble work is a challenging work of music, stretching the brass to creates a stalwart accompaniment. the higher ranges of their instruments over flourishes of woodwind technique contrasted with sensitive moments of The short B section is introduced by the piccolo, later per- delicate precision. formed by the oboe, and has a more delicate, relaxed feel. This change in tone segues into the main theme again, this time with the beautiful, warm qualities highlighted through use of the flutes and a fluttering backdrop. Molly on the Shore (1918) The theme is repeated three times and builds emotionally Percy Grainger (1882–1961) until the listener is transitioned into the strong, declaratory A lover and collector of folk tunes, Percy Grainger com- finale. bines two Irish reels in this piece: “Molly on the Shore” and “Temple Hill.” Grainger, a native Australian, composed this The finale expresses the joy of achievement. Although piece in 1907 while living in London as a young pianist. Al- quite similar to the introduction, it includes extensive though it was first composed as a , Grainger repeated phrasings in the percussion and woodwind sec- arranged it 13 years later for concert band. The arrange- tions that make each stand out. The “journey” is brought to ment makes sense; Grainger spent 1917–1919, the latter conclusion with a slow, grand final statement of the theme portion of World War One and slightly thereafter, playing in by the trumpets and trombones. and conducting bands in the U.S. Army. After his time with the army bands, Grainger spent much of the rest of his life —Adapted from notes by the composer composing and arranging for the concert band configura- tion. He writes of this piece:

“In setting Molly on the Shore, I strove to imbue the accompanying parts that made up the harmonic texture with a melodic charac-

3 Concert Band

LUTHER DORIAN FESTIVALS AND SUMMER PROGRAMS Luther College hosts hundreds of middle and high school student musicians at seven annual Dorian Festivals and Summer Programs. Participants receive private instruction, ensemble coaching, and performance opportunities in Luther’s own Noble Recital Hall and Center for Faith and Life.

Dorian Choral Invitational Festival • April 6 More than 450 participants Dorian Middle School Summer Camp • June 12–18 More than 300 participants Dorian High School Summer Camp • June 19–25 More than 300 participants Dorian Keyboard Festival • Nov. 11–13 More than 100 participants Piano, organ, and harpsichord Dorian Vocal Festival • Jan. 14–16, 2017 More than 1,100 participants Choral and solo opportunities, including select Chamber Choir he Luther College Concert Band was formed in 1878, laying the foundations for what would become Dorian Orchestra Festival • Feb. 12–13, 2017 the college’s long-standing tradition of musical More than 120 participants T excellence. Directed by Joan deAlbuquerque, Concert 2 ensembles, including select Chamber Orchestra Band is now one of the oldest touring organizations in Dorian Band Festival • Feb. 26–27, 2017 the nation and ranks among the country’s outstanding More than 600 participants undergraduate bands. 3 ensembles, including select Symphonic Band From its beginnings as a student-directed brass and For information, contact percussion ensemble formed with instruments from a Jim Buzza, coordinator discontinued community band, Concert Band rose to its Dorian Music Festivals and Camps, Luther College current position of prestige with deAlbuquerque through (563) 387-1389 the influential directorships of Carlo Sperati (1905-1943), [email protected] http://music.luther.edu/dorian Weston Noble (1948-1973), and Frederick Nyline (1973- 2011). The ensemble is rich in tradition, most apparent through the inclusion of the selections Who Puts His Trust in

4 God Most Just and Stars and Stripes Forever at the end of Luther College hosts two wind bands in addition to Concert almost every concert. Throughout its long history, Concert Band. Wind and Percussion Ensemble is an auditioned Band has enjoyed unrivaled performance opportunities band limited to around 50 participants and rehearses three in the United States, Western Europe, and Japan. The days every week. Varsity Band is open to any student with ensemble tours every year, with international travel every an interest in continued band participation at the college four years. In 2013 the band traveled to Iceland and level and rehearses two days each week. Both ensembles Norway, and in 2017 Concert Band heads to Spain. are conducted by deAlbuquerque and perform regularly on campus. Band students also have the opportunity to This winter Concert Band was invited to participate in the participate in the orchestral, jazz, and chamber ensembles 2016 North Central Regional Conference of the College on campus, in addition to cheering on the Norse athletic Band Director’s National Association (CBDNA) in Ames, teams in the Luther College Pep Band. Iowa. Additional recent honors include selection to perform at the 2014 North Central Regional CBDNA conference in Muncie, Indiana, and the 2013 Iowa Bandmasters Association Conference in Des Moines, Iowa.

5 Concert Band Personnel

Piccolo Shannon Meehan, Gurnee, Ill. Lauren Knuckey, Galena, Ill. biology and environmental studies undeclared Jackie Krawczyk, Freeport, Ill. nursing Flute Michael Brehmer, Rosemount, Minn. * Emily Green, Dubuque, Iowa mathematics psychology, biology and music minors Isaac Heins, Mantorville, Minn. Rebekah Sandgren, Fargo, N.D. English, 5–12 secondary education and religion and mathematics, French minor theatre minors Ziggy Mustain, Wilmette, Ill. Morgan Mortenson, Dexter, Minn. music, K–12 music education minor mathematics, 5–12 secondary education minor Oboe * Rebecca Keller, Brighton, Colo. Bass Clarinet music *Jonathan Baccam, Andover, Minn. music, K–12 music education minor Grant Preheim, Marion, S.D. communication studies, music minor Addie Smith, Glen Ellyn, Ill. nursing Kierra Blackstad, Lakeville, Minn. music, K–12 music education minor Bassoon Eb Clarinet *Miranda Honzel, Machesney Park, Ill. music Lauren Knuckey, Galena, Ill. undeclared Timothy Radermacher, Plymouth, Minn. music, K–12 music education minor Clarinet Erin King, Arden Hills, Minn. social work * Ches Craig, Maquoketa, Iowa music Torgerson Concertmaster Alto Saxophone Joel Denney, Byron, Minn. *Jordan Cox, Baraboo, Wis. biology, chemistry minor music Elisabeth Hartmark, Minneapolis Hunter Prueger, Ames, Iowa music and classics music Samantha Rabang, West Des Moines, Iowa music and psychology

12 Concert Band members 19 majors represented are studying music education.

7% undeclared

39% music majors

54% non-music majors 6 54+39+7 Tenor Saxophone Emmalyn Stumpf, Menasha, Wis. Percussion +Reggie Young, Northfield, Minn. biology, Spanish minor +*Sylvia Kaare, Eden Prairie, Minn. music, Spanish and K–12 music education Ellen Widerski, Madison, Wis. music, K–12 music education and classical minors mathematics and computer science studies minors J.J. Schrick, Moline, Ill. Samuel Haefner, Byron, Minn. Baritone Saxophone music, management minor music, K–12 music education minor Ryan Goos, Baxter, Minn. Tad Guy, Urbandale, Iowa Spanish and international studies, Trombone psychology and management linguistics minor *Lillian Brondyke, Dubuque, Iowa Andrew Tank, Hastings, Minn. biology, chemistry minor undeclared Trumpet Tim Sloneker, Minneapolis Aidan Schmitt, Apple Valley, Minn. *Jakob Jorgenson, Stillwater, Minn. economics, psychology minor music and computer science music and computer science Christopher Lange-Pearson, Rochester, Linnea Baas, Elkhorn, Wis. Ryan Ehrhardt, Cedar Falls, Iowa Minn. psychology and exercise physiology music, computer science minor undeclared Liam Fraser, Urbandale, Iowa Daniel Melaas-Swanson, Port Byron, Ill. String Bass environmental studies, psychology minor music, K–12 music education minor Emma Hyatt, Boone, Iowa Chelsey Schmeling, Brandon, S.D. undeclared music, K–12 music education minor Bass Trombone Sarah Lodge, Cedar Rapids, Iowa Grant Thomas, Omaha, Neb. Harp music and psychology English, 5–12 secondary education and Katharine Bergman, Cedar Rapids, Iowa Gideon Matchey, Arcadia, Wis. music minors music music, K–12 music education minor Emily Osborne, Esko, Minn. Euphonium English, chemistry minor +*Web Gehring, Galesburg, Ill. Piano music and philosophy Sam Haefner Horn music, K–12 music education minor ^Nathan Fippinger, Aledo, Ill. Tuba Samantha Rabang, West Des Moines, music +*Elena Zarecky, Colorado Springs, Iowa ^Alex Carpenter, Appleton, Wis. Colo. music and psychology biology, music minor music, K–12 music education minor Michael Streyle, Rochester, Minn. Gavin Schaeferle, Chanhassen, Minn. * principal undeclared mathematics and computer science ^ co-principal Elyse Grothaus, Oconomowoc, Wis. + officer elementary education, Spanish minor

MOST COMMON NON-MUSIC MAJORS: Biology (7%) 12 Concert Band members participated in the 2015 Iowa Collegiate Honor Band Mathematics (7%) Psychology (6%)

Active Musicians: 65% of Concert Band members also participate in another large music ensemble 7 Supporting Study Abroad

Scholarships from special international touring funds make it possible for students who otherwise might not be able to travel to accompany their ensemble. The Concert Band is pictured above following a performance at the Glass Cathedral in Hamar, Norway. Concert Band will tour internationally to Spain in 2017.

Luther College education support for study abroad remains a residency in Vienna, Austria, every connects students with vital central focus at Luther College. With four years. A global issues and ideas in the current Sustaining the Mission many ways. As a liberal arts college, fundraising effort, the college seeks The college has established the Luther is committed to a way of to secure more than $5,500,000 in Friends of International Touring learning that moves us beyond overall endowed scholarship support Scholarship to provide support immediate interests and present by May 31, 2016. Endowment for for students who desire to travel knowledge into a larger world—an study abroad scholarships is included internationally on a scheduled education that disciplines minds and within this goal. ensemble tour and who, without develops whole persons equipped to assistance in covering associated understand and confront a changing Similar to Luther’s traditional need- travel costs, would be unable to society. based scholarship funding, a participate. This endowed fund also minimum of $25,000 is required to receives gifts and pledges from A primary way to expand one’s lens establish an endowed study abroad donors who may not be in a position of learning is to study internationally. scholarship. Donors may fund such a to fully fund an endowed scholarship Approximately two thirds of our scholarship through outright support at the $25,000 level. students choose a Luther-sponsored or through a planned gift. yearlong, semester, or January Term Performing on the world stage experience during their four years. Luther student musicians connect with is an integral aspect of studying the larger world through ensemble music at Luther College. For further However, the opportunity to study touring with the Nordic Choir, Concert information about giving in support abroad is out of reach for many Band, and Jazz Orchestra in such of scholarships for study abroad or students. Aiming to make the diverse places as Brazil, Norway, international touring, please contact experience possible for more Japan, Italy, England, Iceland, and the Development Office at (800) students, endowed scholarship Spain. And Luther’s Symphony 225-8664 or visit the website Orchestra engages in a three-week giving.luther.edu.

8 Music at Luther

artin Luther—our namesake—believed music to be “one of the most magnificent and delightful Mpresents God has given us.” For more than 130 years, Luther students have been sharing this marvelous gift with audiences across the country and around the globe.

Music is much more than a gift, though. It’s an integral part of the community of faith and the community of learning on campus. The arts are fundamental to the liberal arts experience at Luther; they help to define what it means to be human. Here, creative scholarship, personal growth, worship, and social relations merge to create an under- standing of the wholeness of life. More than 60 dedicated and distinguished faculty The vibrancy of Luther’s music program is rooted in a bal- teach in Luther’s music department (we use no ance between the academic rigor of our acclaimed music teaching assistants). major and the numerous opportunities for study and per- formance by students from all disciplines across campus.

The Luther campus is alive with the sounds of six choirs, three bands, three , two jazz bands, and nearly 1,000 student musicians. Our students participate in large ensembles, faculty-coached chamber groups, private lessons, and master classes. More than 300 music majors study music theory/ear training, history, education, jazz, composition, church music, and performance.

For more information about Luther’s music program, visit the Luther College music website, music.luther.edu.

Music/arts performance venues include the Center Luther College for Faith and Life, with a 1,600-seat main hall (above) Founded in 1861 by Norwegian immigrants, Luther College and a 200-seat recital hall; Jenson-Noble Hall of provides its 2,350 students with a classic liberal arts Music, with a 325-seat recital hall; Center for the Arts, education. with a 225-seat black-box theatre.

Luther offers more than 60 majors and preprofessional and certifcate programs leading to the bachelor of arts degree. The college’s strong academic program includes internships, professional semesters, and extensive study- abroad opportunities. Dedicated and talented faculty help Luther students develop solid research, writing, and critical-thinking skills, while the close-knit community im- bues its members with a service ethic.

The Phi Beta Kappa college is bolstered by its Lutheran foundation, celebrated for its vibrant music and arts tradi- tion, and enriched by its strong athletic program.

9 Experience Luther!

To arrange a campus visit, call the Admissions Office at (800) 458-8437.

[email protected] www.luther.edu

Luther College 700 College Drive Decorah, Iowa 52101

LutherConcertBand

@MusicatLuther

@MusicatLuther

Streaming link: stream.luther.edu/music Watch the Concert Band Homecoming Concert, Thursday, March 31, 7:30 p.m.

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