MUSIC at the ARCHIVES Music Related Documents from the 13th Century to the 1970s

© County Council. Electronic Version 1.3. Issued June 2012 MUSIC at the ARCHIVES Music Related Documents from the 13th Century to the 1970s

Introduction

“The subject Music in Lincolnshire is rather like the county, much bigger than one realizes at first. It is also like the county in another way. The beauty of the county is elusive, but very real when you find it, so too does one find a genuine love for music.” Dr Gordon Slater, Lincoln Cathedral organist, 1935*

In truth, Lincolnshire has long made a significant contribution to music, from the 16th century with two of the century's greatest composers, John Taverner and William Byrd, through to the 20th century with two of the world's most successful , Bernie Taupin and Rod Temperton (who composed some of the best selling of our age such as "Candle in the Wind" and "Thriller").

This volume contains a selection of the music related documents held in Lincolnshire Archives. The documents date from the thirteenth century through to the 1970s. As well as music scores, there are letters, journals, tickets, advertisements, cartoons, programmes and portraits. The subject matter ranges from the music to be played at coronations to the coiffures and head wear of opera audiences.

You can study the documents in further detail by visiting the Search Room at Lincolnshire Archives (see www.lincolnshire.gov.uk/archives for further details).

This is only a selection of the music related documents in the Archives. We hope this selection will encourage you to delve deeper into the Archives. Where applicable, we have suggested similar documents to study.

Many thanks to the Lincolnshire Archives Reprographics Department for supplying the images in this volume. You can order copies of the images in this volume by completing a Reprographics Order form.

*from “Music in Lincolnshire” (Ref: Lincolnshire Magazine vol.2 no.3 Jan/Feb 1935).

2 14th Century 4 line stave music score manuscript on vellum used to bind a volume of wills (Ref: LCC WILLS/1557/iii)

In the aftermath of the Reformation, beautiful monastic scores were cut up and used to bind volumes of Wills and Parish Records. Although it is not unusual to find the blank sides of parchment or vellum documents reused for writing material, cutting monastic music scores to use as binding seems particularly sad to the modern observer.

Also see: HABROUGH/23/1, CRAGG/2/3, FRAMPTON PAR/10/1, LCM/10/1, SAXILBY PAR/23/1

3 Six folios of liturgical text with musical notation for plainsong chants. Some later marginal notes have been made in Latin, Greek and English (believed to date from mid-13th Century) (Ref: HABROUGH PAR/23/1a folio 1) The folios were used to cover the Habrough Parish Register (1538-1610), but were de- tached in 1921-2. ...continued. 4 HABROUGH PAR/23/1a was studied by Roger Bowers of Jesus College, Cambridge and Dr. Susan Rankin of Emmanuel College in 1988. In a letter that now accompanies the document, Roger Bowers commented :

“The fact that a colleague and I enjoyed only limited success in identifying the liturgical texts and plainsong chants from all the standard indices of such things suggests that these leaves are of considerable interest. They appear not to match any of the better- known English diocesan liturgies...and the suspicion immediately arises that these leaves are from the hitherto virtually unknown Use* of Lincoln. No complete volume of the Use of Lincoln is known to survive, though it is known to have enjoyed an independent exis- tence as late as 1556—and even then Bishop White’s order for it’s suppression (and re- placement by the Salisbury Use) may well have had little effect.” “Dr. Susan Rankin assures me that these leaves are written in an unusually fine hand for such a volume; the manuscript from which they came was something well out of the ordi- nary. It is of 13th century origin, perhaps around the middle.” “...if it proves to be that these are leaves of the hitherto unknown Use of Lincoln, it would be very agreeable ... to ponder upon the whereabouts of any other such leaves of Lincoln Use that may have survived as covers, paste-downs, and fly-leaves in other volumes.”

*Definition of “Use”: A liturgical form practised in a particular church, ecclesiastical district or community.

Also see CRAGG/2/3, FRAMPTON PAR/10/1, LCC WILLS/1557/iii, LCM/10/1, SAXILBY PAR/23/1

5 Pages from a medieval service book, 13th-14th century (Ref: LCM/10/1)

Above is one of two folios from a Breviary. On one side is part of the proper* of the season, probably a Lent office. On the other side is a pas- sage re Moses [? from Mattins].

Recto shown above, detail from verso shown right.

Also see: LCM/10/2-5, HABROUGH/23/1, CRAGG/2/3, FRAMPTON PAR/10/1, SAXILBY PAR/23/1, LCC WILLS/1557/iii

*Definition of “proper”: for use in the liturgy of a particular festival or season of the year.

6 14th century 4 line stave music score manuscript on paper used to bind a vestry book dating from 1597. (Ref: FRAMPTON PAR/10/1)

This vestry book of parish officers' accounts (dated 1597-1683) was originally bound with a fragment of an illuminated manu- script, part of which remains, and rebound into a blue paper cover in 1859.

Also see: LCM/10/1, HABROUGH/23/1, CRAGG/2/3, SAXILBY PAR/23/1, LCC WILLS/1557/iii

Please note that, due its fragile condition, this document is currently not for production (NFP) in the Lincolnshire Archives Search Room.

7 Music Score of 2 movements, the Credo and Sanctus, of the ordinary mass (15th century) (Ref: SAXILBY PAR/23/1)

Composer is unknown. Probably survived from early example of a genuine choirbook. The provenance can be traced to Saxilby, probably in the mid-16th century. It had evidently formed the outside covers to a book - possibly churchwarden's accounts since there is graffito on the score of the name Edward Tindall and the dates 1681, 1682, 1683, and 1684. Edward Tindall was churchwarden at this time.

An article has been written about this document: "The Saxilby Fragment" by Margaret Bent and Roger Bowers in "Early Music History, 1: Studies in medieval and early modern music." Cam- bridge University Press, 1981 (includes copy of the music score).

Also see: HABROUGH/23/1, CRAGG/2/3, FRAMPTON PAR/10/1, LCC WILLS/1557/iii, LCM/10/1

8 Two leaves from a 15th Century Monastic Antiphony from the Monastery of Ludger in Werden, Friesland, Germany, pasted to the inside back cover of a volume (Ref: CRAGG/2/3)

One leaf is part of the mattins of Candlemas Day (2 February). The other has part of the mattins of the beheading of St. John the Baptist (29 August) and part of the mattins of St Giles (1 September). Both leaves have been used as binding for a book at some time. Both leaves feature a four line stave with one line of the stave marked in red.

Also see: HABROUGH/23/1, SAXILBY PAR/23/1, FRAMPTON PAR/10/1, LCC WILLS/1557/iii, LCM/10/1.

9 Parish Register with scores of a Galliard by William Byrd (c.1539-1623) and Pavanne by Mr B... on six line stave. (Ref: PAR/1/1)

This Parish Register of baptisms, marriages and burials dating from 1558 was bound with a sheet of music scores which includes Byrd’s Garliardo 2 (no.59b), Pavan: Kinborough Good (no.32a), Pavan (no.16a) and Galliard (no.16b). The music scores are written on a six line stave as were Byrd’s published keyboard works at the time. Along with Thomas Tallis, another great composer and Byrd's former teacher, Queen Elizabeth I granted Wil- liam Byrd the monopoly rights to publish music in , despite the fact that Byrd was a known Catholic. Byrd was organist and choirmaster at Lincoln Cathedral from Lady Day (25 March) 1563 until December 1572. He lived at 6 Minster Yard (a plaque marks the site of his abode). At Lincoln there was confrontation between Byrd and the Archdeacon John Aylmer, a zealous anti-Papist who was disdainful of the use of music in church at all let alone Byrd's flamboyant "Popish" style.

See R BOX L.B.BYRD/PAC for more information on these scores

10

Book of Psalms, printed 1647, bound up at the end of the fourth of four vol- umes of manuscript notes for sermons. The volumes were written by John Taylor (born 1620) who was the godson of Sir John Mounson. (Ref: MON/7/59, title page and p78 shown above)

The records of a number of Lincolnshire parishes include a copy of the Psalms, some hand writ- ten, others printed, but most dating from the eighteenth and nineteenth centuries. The book of Psalms bound into MON/7/59 was printed in 1647 during the Civil War. The title page takes a dis- tinctly Puritanical tone, extolling the virtues of of Psalms and “laying apart all ungodly songs and ballades: which tend onely to the nourishing of vice, and corrupting of youth.”

Also see: CARLTON LE MOORLAND PAR/23/2, CORBY PAR/23/2-3, PAR/23/1, STAMFORD ST MICHAEL PAR/22/1-2, WOOLSTHORPE PAR/23/1, WESTON PAR/23/2, LOUTH HOLY TRINITY PAR/22/1.

Images by courtesy of Lady Monson

Ref: Epworth Bishop’ Transcriptions, 29 December 1707 Baptism of Charles Wesley (1707-1788), pre-eminent author of hymn lyrics including “Hark, the Herald Angels Sing”, “Jesus, Lover of My Soul”, “O for a Thousand Tongues to Sing”, “Love Di- vine, All Loves Excelling”. 11 Sir Brownlow Cust’s used subscriber tickets to a performance of Handel’s at Westminster Abbey 29 May 1784 (Ref: BNLW/4/8/5/8/3) and a Handel Memorial Con- cert at Westminster Ab- bey 26 May 1784 (Ref:BNLW/4/8/5/8/2).

1784 was the 25th anniversary of Handel’s death. These tick- ets are from a bundle of tickets to concerts from 1781 to 1797 (Ref: BNLW/4/8/5/8/1- 15)

Also see: BNLW/4/8/5/8/4 and 2- MM/2/B/13/2.

12 "Characters in High Life sketched at the New Rooms Opera House" 20 June 1795 (Ref: 3-ANC/9/8/15)

Ticket for Mr. Harrison’s Con- cert at the New Grand Con- cert Rooms Opera House 16 May 1794 (Ref: BNLW/4/8/5/8/4)

Samuel Harrison (1760-1812) trained as a singer in the Chapel Royal. He was chosen by George III to sing in the commemorative performance of Handel’s Messiah at West- minster Abbey in 1784 (See BNLW/4/8/5/8/3). Image of 3-ANC/9/8/15 by courtesy of Lady Willoughby de Eresby 13 Image courtesy of Lady Monson

Programme of a concert for the Benefit of Mr. Attwood, Music Room, Oxford, 22 June 1797 (Ref: MON/30/1/23)

One of a bundle of 92 concert programmes from the Music Room, Oxford dating between 1796 and 1823. The programmes provide an insight into the prevailing tastes of , heavy as they are on Handel and Haydn in the earlier years and Rossini in later years.

Thomas Attwood (1765-1838) was a renowned English composer and organist. The Prince of Wales (later George IV) paid for Attwood to study in Naples and Vienna, where he was a pupil of . In 1796, he was appointed as the organist of St. Paul’s Cathedral and composer of the Chapel Royal. Attwood was also a Professor of the Royal Academy of Music and a founder member of the Royal Philharmonic Society. In his last years he was a friend of Felix Mendelssohn. Attwood composed anthems for the coronations of George IV and William IV and was composing an anthem for the coronation of Queen Victoria when he died in 1838. He is buried under the organ at St. Paul’s Cathedral. Attwood’s music was influenced by Mozart, but is rarely performed today. Perhaps the best known work relat- ing to Attwood is Mozart’s A Musical Joke, the fourth movement of which includes a lampoon of a study Attwood had written when he was Mozart’s pupil.

'Twenty-four Country Dances for the year 1807, Composed by Mr. Gray, adapted for the violin, German , , etc, with figures.' Published Lon- don (Thompson's Music Warehouse, 75 St. Paul's Church-yard) 1807 (Ref: 1- DIXON/21/1/7)

Appropriately for the year 1807, the titles of these dance tunes are full of references to the Napo- leonic Wars; “A Fig for Invasion”, “The Corsican Fairy”, “The Sharp Shooter”, “The Disbanded Vol- unteer” and so on. All the dances are accompanied by instructions for the dance movements.

Images by courtesy of Mr P Gibbons

Ref: 1-MM/2/6/45-48 and 51, 1-MM/2/18/9 and MASS/1/147a Letters from Rev. Henry Francis Lyte (1793-1847), author of the words to, amongst others, “Praise My Soul, The King of Heaven” and “Abide With Me”. “Abide With Me, Fast Falls the Even- tide” was written only a few weeks before his own death in 1847. The letters are family letters to his wife’s uncle, Charles Burrell Massingberd of , and to the Revd. F.C. Massingberd. 15 Volume of handwritten scores with deco- Images by courtesy of Lord Yarborough rated title pages. Includes arias by Rossini and the lesser known composers, Nicolo Isouard, Felice Blangini and Giuseppe Balducci. Inscribed Lady Charlotte Mary Osborne, Naples 1818 (Ref: YARB/10/8).

This one of a collection of handwritten and printed early 19th century scores owned by the family of George Osborne, the Duke of Leeds. Lady Charlotte was around 12 years old at this time.

The score above is of Notturno a Tre Voci by Balducci, a composer of salon operas. His works are little known today, but a number of his operas were revived in the 1990s by the opera scholar Jeremy Commons.

Also see: 1-DIXON/21 and the other volumes in YARB/10 Above: detail from title page of YARB/10/8

16 Sketch of Advent Bagpipers, Rome, 25 November 1829 (Ref: JARVIS/6/C/3)

Italian Advent festivities include zampognari (bagpipers) who come down from the hills to Rome and other big cities to play tra- ditional folk tunes in anticipation of the coming of Jesus. Zampog- nari often appear in Italian Nativity scenes.

Image by courtesy of Claire Birch, Doddington Hall

17

Letter from Vincent Novello to C. Kramer, April 1830 (Ref: GOULDING PA- PERS/4/A/2/4/1) The Letter suggests the performance of 's Anthem for Coronation of James II at that of William IV. For 8 voices and instruments, it would be adapted to suit a modern orches- tra. The Revd D. Goodenough of Westminster Abbey and Sir George Stuart [Smart?] are both agreed to have it performed, he would like to call on Kramer to discuss the matter. Vincent Novello (1781-1861) was an English and composer. An original member of the Philharmonic Society, he conducted or performed the British premieres of many major works by the likes of Haydn, Mozart and Beethoven. He was an avid music collector and re- vived interest in earlier composers such as Palestrina and Purcell. When a fire at York Minster in 1829 destroyed many of Purcell’s manuscripts, only Novello’s copies of the lost works re- mained. From 1811, he published music from his own house beginning a family tradition of music pub- lishing. His son Alfred Novello established the Novello & Co. publishing company, commencing with an issue of Purcell’s Sacred Music.

18 Account of a night at the opera, , Massachussetts, 5 Janu- ary 1852 (Ref: 1-FANE/6/8/2 details from pp50-52)

From a “Journal of Travels in Canada and the United States” by Colonel Francis Au- gustus Fane, this account of a performance of 'The Daughter of the Regiment' notes that the singer performing the role of “The Lover” was "a great fat beast more like a butcher than a singer" and describes the remarkable coiffure of an "Exquisite" in the audience.

Images by courtesy of Lieut Cdr A Fane RN 19 Account of a night at the opera, Boston, Massachussetts, 5 Janu- ary 1852 (Ref: 1-FANE/6/8/2 detail p51)

Sketch of the singer performing the role of “The Lover” who was "a great fat beast more like a butcher than a singer".

20 Handwritten score of written by Claribel stayed at Belvoir Castle, the seat of the Claribel at Belvoir for Lady E, 1 Febru- Manners family (Dukes of Rutland) on a couple ary 1867, from a volume of Manuscript of occasions. The dedicatee of the song may be copies of Claribel's Songs (Ref: Lady Elizabeth Frederica Manners (10 Decem- CLARIBEL/6/2) ber 1801 – 20 March 1886), the only living fe- male member of the Manners family with the initial E at that time, but it could also refer to Claribel (Charlotte Alington Barnard) (1830- one of the Manners’ other guests. 1869) was a successful Victorian , poet and artist. She was the only daughter of Henry Pye, a successful solicitor who later be- came mayor of Louth and county treasurer. Under the pseudonym Claribel, (taken from a Tennyson poem), she composed well over 100 poems, songs, ballads, and musical pieces, most of them published by Boosey and Son. She rapidly became one of the most popular ballad composers of the day and signed a £300 a year contract with Boosey and Son for future songs. In 1868, however, Claribel’s world was shattered by the revelation that her father had been em- bezzling money. Claribel later sailed with her fa- ther to Belgium where she wrote her last poems. She returned to England in 1869, but died after just two weeks near Dover, aged 38. A stained glass window in her memory can be seen at the west end of St. James’ church in Louth. Portrait of Claribel (Ref: CLARIBEL/5/1)

21 Sixteen Songs by Sullivan and Claribel, published by Boosey & Co. (Ref: CLARIBEL/6/1)

From a box of published scores of Claribel songs, this edition, combining songs by Claribel and one of the 19th century’s most popular composers, Sir Arthur Sullivan, shows how highly Claribel was thought of at the time. Claribel’s most famous song is “Come Back to Erin” which, although written by a woman from Louth, is now something of an Irish stan- dard. A score of “Come Back To Erin” can also be found in the box. (Ref: CLARIBEL/6/1).

22 Late 19th century book of music (manuscript) (Ref: GLENTWORTH PAR/23/1)

The records of many parishes include music books, however few are as diverse as this book which contains songs and piano pieces both sacred and profane, such as 'Oh Susannah', 'The Tyrolese Evening Hymn', 'The Fidgety Man', 'Lilly Baker' and 'Thy Will Be Done'. The book also includes a tune of local interest, ' Polka' by G. R. Day.

The commonplace book of Joseph Proctor (1806-1884) butcher and violin-maker [Croft].Ref: R Box L.B.PRO/KIR A4 (not illustrated here) Includes sketch plans of violins.

23 A broadside sheet of a ballad called 'The Shipwreck' to the tune of “Wreck of the ‘London’” (undated) pasted to the inside cover of a Parish Register (Ref: SKIDBROOK WITH SALTFLEET HAVEN PAR/1/10) In some ways the precursors of the modern red top tabloid newspaper, broadsides such as the one above were often sensationalist accounts of current affairs. Publishing broadsides was a commercial enterprise with many printers of broadsides throughout the country producing broadsides in vast quantities. The broadsides often included a verse or ballad that could sung to a well known tune. The name of the tune would often be printed on the broadside (as above). Street broadside vendors were a familiar sight on Britain's streets for hundreds of years. Known as Ballad Singers, they hawked their wares by singing the verses featured on the broadside. ...continued 24

19th century folk song collectors, who were largely of a literary bent, were dismissive of broad- sides as cheap hack work. The pre-eminent American folk song collector, Francis J. Child, de- scribed broadsides as “veritable dung-hills”. They were keen to find songs that came from oral tradition as they considered that to be the pure derivation of a song.

In reality, however, the oral and broadside sources were very much intertwined. Many folk songs began life as a broadside or were broadcast by broadsides. For example, when the broadside ballad “The Murder of Maria Marten” of 1822 was collected in 1905 as a folksong (see below ’s score of the song collected from Joseph Taylor of Saxby All Saints, ref: LCM/8/4), the words were verbatim from the broadside.

Moreover, early 20th century collectors were composers and primarily interested in the tunes. By reusing old tunes with a contemporary lyric, broadsides had done much to sustain those tunes. This generation of composer/folksong song collector also had a more nostalgic attitude towards broadsides. Although broadside selling died out in the late 19th century as newspapers became more popular, composers such as could recall broadside singers and their tunes.

Above: Percy Grainger’s score of “The Murder of Maria Marten” collected from Joseph Taylor of Saxby All Saints (Ref: LCM/8/4)

25 The catalyst for English composers to collect folk songs was the emergence of national styles of music around Europe. In the wake of the French Revolution, Europe was convulsed by a series of revolutions throughout the 19th and early 20th centuries as the people switched their allegiances from monarch to nation. The National Music movement began in Russia in the 1840s with Mikhael Glinka and the Mighty Five (or Handful) of Mussorgsky, Rimsky-Korsakov, Cui, Balakirev and Borodin. They developed a National Music with a distinctly Russian character by drawing on indigenous sources. The National Music movement spread around the fringes of Europe. The composers who de- veloped National styles are now themselves national icons because their compositions gave a distinctive voice to each country's music and thereby reinforced each country's identity. Tunes and traditions that were once only known in a local area were now known internationally. Pre- sented in a Classical form, they could be appreciated throughout the Western World. Amongst the most renowned Nationalist composers were Smetana and Dvorak in Bohemia (now part of Czech Republic), Karlowicz and Szymanowski in Poland, Kodaly and Bartok in Hungary, De Falla, Rodrigo and Tarrega in Spain, Sibelius in Finland, Nielsen in Denmark and Grieg in Norway. The Norwegian was an inspiration for Percy Grainger's folksong collecting. Grieg and Grainger were close friends at the time that Grainger was col- lecting folksongs in Lincolnshire. Grieg quoted by Grainger in a letter to the Danish newspa- per Vort Land (8.9.1907): "I have again immersed myself in your folksong treatment and it is clearer and clearer to me how full of genius it is. You have given a very significant pointer in the direction of how much English Folksongs (in my opinion so different from both Scottish and Irish) possess the re- quirements for being raised to the level of art and thereby make English music independent. It will without doubt be able to form the material basis for a national style, as it has in other countries, the great culture-countries not excluded. It has impressed me to see the serious- ness and energy with which the English "Folksong Society" takes hold of its task." The time had come for England to develop its own National style. Time for "the land without music", as the German called us, to have its own musical voice. Time for composers to ex- plore England's indigenous folk music traditions. The Folk-Song Society was founded in 1898. The first committee of the society included some names one wouldn't immediately associate with English folk song, Sir , Edvard Grieg, Sir , Sir Charles Stanford and the celebrated Hungarian violinist Joseph Joachim. There were also some stalwart song collectors like Frank Kidson (who judged the first folk song competition in 1905) and Lucy Broadwood (who accompanied Grainger to Lincolnshire in 1906). joined in 1901 and became the Society's leading figure. He invited new com- poser/collectors like Ralph Vaughan Williams and George Butterworth into the Society. This wave of folksong collecting in England was an eleventh hour operation. The age of industriali- sation had brought with it the notion of entertainment as a product, something to be bought readymade rather than something you created yourself. The younger generation had turned their back on folk song in favour of the commercial product of the Music Hall. Soon the radio, gramophone and cinema would follow. The generation who remembered the songs was dying out. "In those days folk song collecting was an arduous task. You see, folk song had gone out of fashion. A good many of the older people still remembered the songs, but their memories were failing and they were very sensitive to the ridicule of the younger generation... There was the question of making friends with them (the singers) and getting their confidence and tactfully persuading them to sing you their songs." Maud Karpeles, Cecil Sharp's assistant. Also see: Letter from Cecil J. Sharp to Hon. Mrs Maud Sandars (Ref: 2-SANDARS/3/3/9), 25 August 1924 Cam- bridge Vacation School of Folk Song and Dance (Ref: 2-SANDARS/ 11/6) 26 Letter to Lady Winefride Elwes from Percy Grainger, dated 13 April 1905 (ref: 2-ELWES/1/13/E-K)

Percy Grainger attended the Village Competition section of the annual Music Competition festival organised by Gervase Elwes and Lady Winefride Elwes at Brigg(10-11 April 1905). There was a new class in the competition that year “Class XII Folksong”. “The Prize in this class will be given to whoever can supply the best unpublished old Lincolnshire folk song or plough song. The song should be sung or whistled by the competitor, but marks will be allotted for the excellence rather of the song than its actual performance. It is specially re- quested that the establishment of this class be brought to the notice of old people in the country, who are most likely to remember this kind of song, and that they be urged to come in with the best old song they know.” Therere four entrants and the prize winners were: 1st prize of 10 shillings and sixpence: Joseph Taylor (72 years of age) of Saxby singing “Creeping Jane” 2nd prize of 5 shillings: William Hilton senior of Keelby (85 and, so it is said, profoundly deaf) sing- ing “Come All You Merry Ploughboys” 3rd Prize of 2 shillings and sixpence: Dean Robinson of Scawby Brook singing “T’owd Yowe wi’ One Horn” Though he had seen folksongs in print, this was Grainger’s first contact with the living folk tradi- tion. After the competition, Joseph Taylor sang “Brigg Fair” to Grainger. Grainger noted down 8 songs. On returning to London, Grainger hastily wrote to Lady Winefride to arrange a folk song collect- ing trip to Brigg and asked for the names and addresses of the prize winners. Four of the songs Grainger notated were published in the Journal of the Folksong Society with comments by Frank Kidson (who judged the competition), Lucy Broadwood, Cecil Sharp and Ralph Vaughan Williams.

Grainger embarked on four folk song tours of Lincolnshire over the next few years: 2-4 September 1905. First collecting tour Staying with the Elwes' at Brigg Manor House and travelling by bicycle to collect the songs. 7 May 1906. Festival in Brigg Grainger's settings of "Brigg Fair" and three other songs collected in September are performed at the festival in Brigg with Grainger and Lucy Broadwood in attendance. The settings are also per- formed at a joint Grainger and Elwes recital at the Aeolian Hall, London on 14 November 1906. 25 July - 4 August 1906: 2nd summer of song collecting. Grainger is the guest of Lady Winefride at Brigg Manor House. This time he has a new innova- tion in collecting folk songs, using a wax cylinder Edison Bell Phonograph to record the singers. These are the first "field recordings" in the UK. Some 216 wax cylinders survive from Grainger's collecting tours in 1906 and 1908. Other composers and collectors follow his example to use the phonograph to collect folk songs including Vaughan Williams and Bela Bartok in Hungary. To re- cord the singers and then write music scores from the recording would become a standard tech- nique. Grainger is still travelling around by bicycle covering up to 50 miles day. The tour is cut short by the accidental death of Lady Winefride Elwes' brother, the Very Rev. Monsignor Basil George Edward Vincent Fielding who drowned whilst canoeing on the Rhine with Everard Field- ing. 24-27 May 1908 Percy Grainger is accompanied by his mother Rose on a motoring tour of Lincolnshire collecting songs on 25 and 26 May at Brigg and Scawby. Arrangements were made by Annie Allen, Joseph Taylor's daughter. Again Grainger uses the phonograph. 27 Above: hectograph copy of Percy Grainger’s score of “Brigg Fair” from a set of 200 such transcriptions of Folksongs & Sea Shanties collected by Percy Grainger (ref: LCM/8/4)

Right: photograph of Mr Joseph Taylor of Saxby and his wife. Note on reverse “Mr Tay- lor sang 'Brigg Fair' to Percy Grainger at the instigation of Gervase Elwes (Ref: 2- SANDARS/11/8/5)

Percy Grainger’s handwritten scores of the folk songs he collected were copied by hectograph by Rose Grainger for distribution to friends and archives. Each song has a note of where, when and by whom it was sung, introductory notes, dialect inflections and details of field recordings made by Grainger. Biographical details of the singers are also included. The frontispiece of Grainger’s collection features a salutation and signature by Grainger “with cor- dial greetings from Percy Grainger 4.8.08” ...continued

28 Joseph Taylor (1833-1910) folksinger/bailiff

As a boy in , Joseph Taylor learnt the songs that would bring him acclaim late in his life, “Brigg Fair” and “Creeping Jane”. Taylor, a stalwart of the Saxby All Saints church for forty years, was the most gifted singer that Grainger encountered. In- deed, he was considered to be one of finest singers that any folksong collector had come across throughout England.

In March 1908, Taylor travelled to London for the first performance in the capital of De- lius’s “Brigg Fair: An English Rhapsody”. He returned to London in June the same year to make commercial recordings of eight songs for the Gramophone Company (later known as HMV). Joseph Taylor died just two years later in 1910. His recordings are still com- mercially available.

“Brigg Fair” – Joseph Taylor’s most famous song

Brigg Fair dates back to the 13th century and traditionally takes place on 5 August each year. The travelling community still organizes a horse fair on that date. In 2000, there were some 20,000 visitors to the fair. The traditional site of the horse fair is now occupied by Tesco’s supermarket.

According to the Telegraph, the “805th” Brigg Fair on 5 August 2009 was held on Station Road. Despite the wet weather, several hundred people attended to watch horses being traded and trotted up the Station Road. Though Grainger wrote a choral setting of the song, it would be the orchestral setting by his friend that would make the song internationally famous. On 31 March 1908, at the Queen's Hall, Thomas Beecham conducted the New Sym- phony in the London premiere of Frederick Delius’ “Brigg Fair: An English Rhapsody”. Lady Winefride Elwes’ brother Everard Fielding paid for Joseph Taylor to travel down to attend this performance with himself, Percy Grainger, Rose Grainger and Frederick Delius. A legend has grown that on hearing 'his' tune, Joseph Taylor immedi- ately stood up and began to sing along with the orchestra. However, this story seems to underestimate Taylor’s character and, in a letter to his closest confidant, Grainger de- scribes Taylor’s reaction thus “ ...the old man became red with pride when he recognised his song on a big orchestra and said “It’s just it” or “It’s the best of the lot.” Delius’ Brigg Fair was not performed in Brigg itself until 2004. The piece was one of the highlights of the 2009 Proms season when it was performed to commemorate the 75th anniversary of Delius’ death in 1934. Sadly, Taylor’s own recording of “Brigg Fair” made for the Gramophone Company in June 1908 is very short, barely more 30 seconds, as he could remember only a fraction of the lyrics.

29 Hectograph of Percy Grainger’s score of “Horkstow Grange” (aka “John Bowlin”) (Ref: LCM/8/4) Collected by Percy Grainger from George Gould- thorpe at Brigg on 28 July 1906 and phonographed in May 1908.

“Horkstow Grange” is the tale of how a waggoner, John “Steeleye” Span, and his foreman, John Bowlin’, fell out and came to blows. The words are set to the tune of a ballad about naval mistreatment “Andrew Rose, the British Sailor”.

Horkstow Grange is a house and range of farm buildings situated about half a mile north of Saxby All Saints. As the location of the song is so specific it is tempting to hope that we could research the backgrounds of the characters of the songs John Bowlin’ and , but alas no. They are either figments of Gouldthorpe’s imagination or their true names had been lost to his memory. Those who have researched the songs have produced no written evidence of these men or indeed any local memory of them other than in this song. Percy Granger arranged George’s “Horkstow Grange” as part of his “ Suite for Wind Band”. Each piece in this suite was arranged to reflect the personality of the singers. Grainger transformed George’s confused little ditty into a stately thing of dignity, love and beauty. "In recalling Mr. Gouldthorpe I think most of the mild yet lordly grandeur of his nature, and this is what I have tried to mirror in my setting of Harkstow Grange” (sic). A great epitaph for the old boy. ...continued

30 And that would have been the end of it, had it not been for the formation of a folk rock group some 60 years later. Co-founded by the Lincoln born musician in 1969, the new group’s name was suggested by a stalwart of the folk scene, CBE. The name “Steeleye Span” had caught Carthy’s imagination whilst reading through “Horkstow Grange” in a song book and he thought it was a great name for a band. Carthy would later join the band himself. Steeleye Span went on to be the most commercially successful band with hit singles like “Gaudete” (1972) and “All Around My Hat” (1975) and a series of hit albums. They only belatedly recorded the song “Horkstow Grange” as the title track of an album in 1998. George Gouldthorpe (1839-1910) folksinger/workhouse inmate

"Mr. George Gouldthorpe, the singer of Harkstow Grange (sic) (born at Barrow-on-the-Humber, North Lincolnshire, and aged 66 when he first sang to me, in 1905) was a very different personal- ity. Though his face and figure were gaunt and sharp-cornered (closely akin to those seen on certain types of Norwegian upland peasants) and his singing voice somewhat grating, he yet contrived to breathe a spirit of almost caressing tenderness into all he sang, said and did--though a hint of the tragic was ever-present also. A life of drudgery, ending, in old age, in want and hard- ship, had not shorn his manners of a degree of humble nobility and dignity exceptional even amongst English peasants; nor could any situation rob him of his refreshing, but quite uncon- scious, Lincolnshire independence. In spite of his poverty and his feebleness in old age it seemed to be his instinct to shower benefits around him.” Percy Grainger. "Towards the end of his life he was continually being pitch-forked out of the workhouse to work on the roads, and pitch-forked back into the workhouse as it was seen he was too weak to work ('When Ah gets on to the roäds I feel thaht weeäk!'). But he was very anxious to insist that no in- justice was done to him. In the midst of reciting his troubles he would add quickly, impulsively: 'Aw, boot Ah'm nawt cumplaainin'! They're verra kahn tummuh (kind to me) at the workkus; they're verra kahn' tummuh!' Percy Grainger. “Once, at Brigg, when I had been noting down tunes until late in the evening, I asked Mr. Gould- thorpe to come back early the next morning. At about 4:30 I looked out of the window and saw him playing with a colt, on the lawn. He must have taken a train from Goxhill or Barrow, at about 4.00 a.m. I apologised , saying 'I didn't mean that early, Mr. Gouldthorpe.' Smiling his sweet kingly smile he answered: `Yuh said: Coome eearly. So I coom'd.” Percy Grainger. George ended his days in Goxhill where he was buried on 23 April 1910, just a couple of weeks before Joseph Taylor died. “I have now got to know that George Gouldthorpe, him I loved most of them all, died in April. I just wanted to send him some money, poor chap.” Percy Grainger (letter 24.5.1910.)

Above: Burial Register entries for George Gouldthorpe (Ref: GOXHILL PAR/1/16) and Joseph Taylor (Ref: SAXBY ALL SAINTS PAR/1/9)

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Gervase Elwes (1866-1921)

“A legendary artist, whose name is revered by many people to a degree that takes it far beyond the realm of mere music. When Gervase Elwes died as a result of an accident in America in 1921 the tributes that poured from both the profession and the public were extraordinary. His career was indeed remarkable. Born into the Northamptonshire squirearchy in 1866, he was that phe- nomenon, an upper-class Englishman who adopted a profession, and a musical one at that. He was to inherit a substantial estate, contemplate a Parliamentary seat, win a local government election (without a single canvass), sit as a magistrate and become High Sheriff of his county. He married the daughter of the Earl of Denbigh, and spent four years in the diplomatic service. He was also a Roman Catholic, and when at Christ Church had been elected to the Bullingdon Club. This was the man who was to become the inspiration of composers as diverse as Percy Grainger and Roger Quilter, who introduced Vaughan Williams' On Wenlock Edge, and who between 1904 and 1920 was to sing (Sir Edward Elgar's Dream of) Gerontius on 118 occasions." Roger Wim- bush Gramophone Magazine, January 1968. A week after Elwes' death, Sir Edward Elgar wrote to 'my personal loss is greater than I can bear to think upon, but this is nothing - or I must call it so - compared to the general artistic loss - a gap impossible to fill - in the musical world.' "To most of us the English musical world suddenly ceased to exist when we received the tragic news of Mr. Elwes' death, in January, 1921; and certainly after more than four years the gap is still just as vacant as it was then." Terence. E. Goodbody, Gramophone Magazine, March 1925

Letter from Roger Quilter (1877-1953) to Gervase Elwes, 25 May 1917 (Ref: 2- ELWES/1/13/L-R)

Sheet music for Quilter’s “Now Sleeps the Crimson Petal” published by Boosey & Co. (Ref: BNLW/4/8/5/15)

Quilter studied music in Germany under Ivan Knorr with Percy Grainger, Balfour Gardiner and Cyril Scott (The Frankfurt Group). Quilter and Grainger would remain close friends. Quilter’s forte was composing songs. Gervase Elwes was crucial to Quilter’s career, being the great proponent of his songs. The song-cycle “To Julia” was dedicated to Elwes. Quilter was the heir to a fortune, but he was a sensitive character, unhappy with his social class and vulnerable because of his ho- mosexuality. He suffered poor health throughout his life and in his later years suffered mental ill- ness. One of Elwes’ best loved recordings was of Quilter’s setting of Tennyson’s “Now Sleeps the Crim- son Petal”.

Letter from Sir Charles Hubert Hastings Parry (1848-1918) to Gervase Elwes 28 May 1914 (Ref: 2-ELWES/1/13/L-R)

Like Gervase Elwes, Parry came from well to do country squire stock. After the accepted course of Eton and Oxford, Parry, like Elwes, took the then unprecedented step of a career in music. From 1894, he was director of the . His duties in this role were thought to have restricted his career as a composer. However, the compositions for which he is best remem- bered, “Jerusalem” and the anthem for the Coronation of Edward VII “I Was Glad”, were both composed during this period.

Parry remains a favourite a composer amongst the Royal Family. In 2011, his music was used ex- tensively during the marriage ceremony of the Duke and Duchess of Cambridge and Prince Charles presented a TV documentary about the composer.

32 Letter from Rebecca Clarke to Gervase Elwes (1886-1979) 16 June 1918 (Ref: 2-ELWES/1/13/A-D)

In 1907, Rebecca Clarke was the first female student of Charles Stanford at the Royal College of Music. She concentrated of composing chamber music and songs. Her first works to gain a wider audience were two 1912 W.B Yeats settings, “Shy One” and “Cloths of Heaven”, which were dedicated to Gervase Elwes and often performed by him.

After her father threw her out of the house in 1910, Clarke relied on her viola playing to make a living. She was one of the first women to be employed by Sir in his Queen’s Hall Orchestra and she was present at the inaugural meeting of the Society of Women in 1911.

Works such as the Viola Sonata were widely performed and gained her some recognition. Per- haps Clarke’s best known work, the Trio for Violin Cello & Piano of 1921, was described by The Musical Times as having “passionate feeling in every section and even had it been the work of a man, it would be called a virile effort.”

In 1944, at the age of 58, Clarke married James Friskin who had been one of her contempo- raries at the Royal College of Music. However, after the marriage she abandoned composing and performing.

She lived on to receive praise from the Feminist movement. The subsequent rise in interest in women composers means that her music is probably more widely known now that at any time during her career.

Letter from Charles Villiers Stanford (1852-1924) to Lady Winefride Elwes, dated 22 January 1921, regarding the death of Gervase Elwes. (Ref: 2- ELWES/1/13/S-Y)

“The most distinguished and capable British composer of the end of the nineteenth cen- tury” (A.L. Bacharach “British Music of Our Time”) Though Stanford studied music in Germany, his “Irish blood may be said to have saved him from complete teutoniscing” (A.L. Bacharach) and many of his works incorporate Irish folk themes. In that, he was a generation ahead of the composers that would use English folk mu- sic. As a teacher at the Royal College of Music, he was a profound influence on the generation of composers that would form the National School. He was not fondly remembered by Vaughan Williams however. Stanford berated one of Vaughan Williams’ student works as “damnedably ugly...it’s not music…all rot”

Letter from Sir Henry Wood (1869-1944), dated 24 June 1921, to Lady Wine- fride Elwes regarding her book on Gervase Elwes (Ref: 2-ELWES/1/13/S-Y)

Celebrated annually as the founder of . His best known composition, Fantasia on British Sea Songs, is performed regularly at the Last Night of the Proms. Wood and his Queen’s Hall Orchestra were label mates of Gervase Elwes on Columbia Records. Wood was a particularly important conductor as he supported new music and young composers, introduc- ing British audiences to works by Delius, Vaughan Williams, Britten and international compos- ers like Prokofiev, Copland, Mahler, Ravel, Debussy, Bartok and Webern.

33 Above: Sir Edward Elgar (bottom right) with Gervase Elwes (top right), photo- graphed in the garden of North Place in Lincoln, 1910. (Ref: MISC DON 1539/17) Elgar was in Lincoln for the Triennial Festival (8-9 June) which included a performance of his “Dream of Gerontius” he conducted. Bantock and Walford-Davies also conducted their own works in the festi- val.

Letters from Sir Edward Elgar to Gervase Elwes. Handwritten letter dated 1916 and typed letter signed by Edward Elgar 6 April 1916 (ref: 2/ELWES/3/Gervase El- wes/Portfolios/Music)

Two letters from Sir Edward Elgar to Gervase Elwes regarding the publication and proceeds of “Fight for Right”, Elgar’s setting for voice and choir of William Morris’ “The Story of Sigurd the Volsung”. The composition was Elgar’s contribution to the Fight For Right Movement which was bolstering the by now flagging public support for the First World War. “Fight for Right” is one of the least known compo- sitions in Elgar’s canon. It was totally overshadowed by another composer’s contribution to the Fight for Right Movement, Sir Hubert Parry’s “Jerusalem”, which was debuted at a Fight for Right meeting on 28 March 1916, shortly before these letters were written.

34 Letter from Ralph Vaughan Williams to Lady Winefride Elwes re- garding Gervase Elwes (1872-1958) undated (c.1934) (Ref:2/ ELWES/1/13/S-Y)

One of the greatest composers England has ever produced. The enduring popular- ity of certain, lighter works, has perhaps masked the true greatness of more serious music such as his symphonies. His music is seen as the epitome of English Pas- toral, but is actually very international in technique. Like Frederick Delius, Vaughan Williams is as much influenced by the French impressionist style of Debussy and Ravel as English folk song. Indeed, it is that French influence that gives his music its distinctive incandescence and luminosity.

Vaughan Williams came from notable stock. His mother was the daughter of Josiah Wedgewood and the niece of Charles Darwin. Despite his family’s misgivings, he studied composition with Max Bruch and Maurice Ravel. At the Royal College of music he struck up a long friendship with Gustav Holst, who introduced Vaughan Williams to Tudor music and English folk song, which would remain great influ- ences. Like Percy Grainger, Vaughan Williams was a great folk song collector. The library of the English Folk song and Dance Society at Cecil Sharp House is named after Vaughan Williams. Gervase Elwes performed the premiere of Vaughan Williams’ great song-cycle “On Wenlock Edge”.

Also see: “Happy Days at Gunby” (Lincolnshire Connections of Vaughan Williams”) (Ref: SR JOURNAL LINCOLNSHIRE LIFE vol 25 no 7 Oct 1985 p37)

35 Bundle of handwritten scores of works by early 20th century British composers and arranged for voices and chamber ensembles (Ref: 2- SANDARS/12/A/3).

The works include Peter Warlock (1894-1930): “Where Riches Everlastingly” (song setting of the me- dieval text “Where Riches is Everlasting”, published 1927-8), Balfour Gardiner (1877-1950): “Noel”, Rutland Boughton (1878-1960): “Christ That All This World Did Make” and Sir Henry Walford-Davies (1869-1941): “The Cloud”.

These are relatively little known works by these composers of whom the charismatic Peter Warlock is now by far the most popular. However, Walford-Davies was a major establishment figure as he succeeded Elgar as the Master of the King’s Music.

Also see: Letter from Walford-Davies re: Royal Command Performance 1938 (Ref: Meth/C/ , Finkin Street/I/7/7), letter from H. Walford-Davies to Lady Winefride Elwes, 23 February 1921(Ref: 2-ELWES/1/13/A-D).

Gainsborough Amateur Operatic Society photographs (The Johnson Collection) (Ref: MISC DON 1451/1/1) Some excellent photographs of productions between 1912 and 1939, most identified by date, pro- duction and names of performers. The photographs are representative of the societies of talented amateurs which were at the heart of local musical life all over the country.

36 Selections from a large parcel of sheet music brought to Belton by Kitty Kinloch, following her marriage to the 6th Baron Brownlow, in 1927 (Ref: BNLW/4/8/5/15)

This selection of sheet music shows the influence of black jazz and blues music in the 1920s and the sexuality of the period. The portrait on the cover of “Madonna, du bist schoner als der Sonnenschein” is reminiscent of Gustav Klimt’s “Judith and Holofernes” that had scandalised the Austrian art scene just a few years earlier. The German songs typical of Weimar Republic period of the 1920s. However, this kind of material would be classified as Entartete (degener- ate by the Nazi regime in the 1930s.

37 Signatures of Benjamin Britten and Peter Pears in Methodist Cen- tral Hall Visitor’s Book, 18 April 1958 (Ref: METH/C/GRIMSBY METHODIST CENTRAL HALL/VISITORS BOOK) Image by courtesy of Grimsby & Methodist Church Circuit

According to the brief history of the Grimsby Philharmonic Society on their website: “One con- cert deserves special mention, an all-Britten programme with Peter Pears singing and Britten himself in the audience. He said afterwards he thought it was the first concert in the country solely devoted to his music. “ (www.grimsbyphil.org.uk) Some of the finest classical artists of the 1940s and 1950s performed at the Central Hall and signed the visitors book: 2 October 1947: Solomon, 5 December 1947: , 28 No- vember 1947: Carl Dolmetsch (who popularised the use the recorder in schools and pio- neered the Early Music revival), 12 December 1947: Kathleen Ferrier with Peter Pears, 11 February 1948: Louis Kentner, 3 December 1948: Heddle Nash, 3 April 1950: Astra Des- mond accompanied by Gerald Moore. Note: that much loved entertainer and successful re- cording artiste, Ken Dodd, also signed the page shown above (top corner).

38 Signatures of Sister Rosetta Tharpe (Morrison), her husband Russell Morrison, Chris Barber and the members of his jazz band includ- ing Ottilie Patter- son, 7 April 1960 (Ref: Meth/C/ Grimsby Methdist Central Hall/ Visitors Book) Image by courtesy of Grimsby & Cleethorpes Methodist Church Circuit

Chris Barber’s Jazz Band was one of the most successful acts of the Trad Jazz scene of the 1950s. However, his greatest legacy to music may have been as a cata- lyst in spreading the popularity of Black American Roots mu- sic in British popular music. It could be ar- gued that British rock music originated from Chris Barber’s band. Two spin off acts from the band, Lonnie Donegan’s Skiffle group and Alexis Korner’s Blues In- corporated, inspired the two waves of the British Invasion that resold black music to the USA in the 1960s. During the short lived skiffle craze, an estimated 30,000-50,000 groups were formed in the UK including the likes of The Quarrymen, later to become The Beatles. Alexis Korner’s Blues Incorporated was the first electric blues group in the UK. The group offered a schooling in the blues for novice musicians who would later form bands such as The Rolling Stones and Cream.

Chris Barber’s Jazz Band promoted blues music in the UK by touring with guest American blues artist such as Muddy Waters and the great Sister Rosetta Tharpe in the late 1950s and early 1960s. The 1960 tour with Tharpe was their second together. Tharpe was a rocking gospel performer whose powerful voice and electric guitar solos still inspire awe. Bob Dylan has described her as “a force of nature”. She died in 1973. However, her reputa- tion has grown over recent years and she is now regarded as “The Godmother of Rock and Roll”. She was an acknowledged influence both on rock’n’rollers like Elvis Presley and Jerry Lee Lewis and on soul artist such as Isaac Hayes and Aretha Franklin. Sister Rosetta’s marriage to her third husband Russell Morrison in 1951 was held in a baseball stadium and attended by 25,000 pay- ing “guests” and the ceremony was even released as an LP.

39 The Beatles in Lincoln, 28 November 1963, newspaper report (Ref: 2-WI/1/5/5)

Fortuitously preserved on the back of a newspaper article about the Women’s Institute is this re- port of The Beatles visit to Lincoln on 28 November 1963 for a concert at the ABC cinema. Al- though this would be their only concert in Lincoln, Lincolnshire does have a footnote in The Beatles’ history. During the 1962 Summer Season at Butlins in , the resident group was Rory Storm & The Hurricanes with Ringo Starr on drums. Back home in their native Liverpool, their local rivals The Beatles were conspiring to oust their drummer Pete Best and replace him with Ringo. According to Mark Lewisohn’s authoritative “Beatles Chronicles” John Lennon and Paul McCartney paid Ringo a clandestine visit at Skegness to sound him out about joining The Beatles. On 14 August, John Lennon phoned Ringo with a formal request to join the Beatles. Though Ringo had two weeks left on his contract at Butlins, he gave Rory Storm three days no- tice and played his first gig as a member of The Beatles on 18 August. Ringo’s rise from Skeggy Summer Season to superstardom was meteoric. Within a week, the Beatles filmed their first TV appearance, with a couple of months, they released their first hit single, within a year Beatlema- nia was rampant in Britain, within eighteen months they had conquered the USA too.

Barbeque 67 (Tulip Bulb Auction Hall, Spalding, 29 May 1967) (See article ref: SR.JOURNAL. LINCOLNSHIRE LIFE Vol.37 No.2 May 1997 p.8).

The line up was Sounds Force Five, Zoot Money and his Big Roll Band, The Move, Pink Floyd, Geno Washington & The Ram Jam Band, Cream and the Jimi Hendrix Experience. An estimated audience of 5000 people, including celebrities such as Germaine Greer, stumped up the £1 ad- mission fee for this incredible line-up. The then little known Pink Floyd were first on when the au- dience only numbered about twenty people. Meanwhile, Hendrix was enjoying a drink at the Red Lion pub. The Spalding Tulip Bulb Auction Hall was later demolished to make way for a super-

Great Western Express Spring Bank Holiday Festival, 26-29th May 1972 (Ref: LINDSEY CC/ Pop Festival)

Lincolnshire Archives holds five boxes documents on this festival (also known as the Bardney Pop Festival) including council and police preparations, litigation, letters of complaints, local press and national music press (Melody Maker) coverage of the festival.

The festival was organised by a company headed by Lord Harlech and the actor/film producer Stanley Baker. The roster of artists included The Beach Boys, The Faces, Joe Cocker, Slade, Roxy Music, Status Quo, Monty Python and many, many more. John Peel and Bob Harris were the MCs. The festival site was at taking place around the remains of and Tupholme Hall (since demolished). In true British festival tradition, the weather was awful for the 35,000 festival goers.

Also see MISC DON 1347/1/4 Articles from "The Times" relating to the Bardney Pop Festival 26 & 27 May 1972

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