Tag Archives: Igor Stravinsky

December 2018 – upcoming London classical gigs – Shiva Feshareki’s turntablist ‘Firebird’ (6th December); a celebration of female choral composers for Christmas in Muswell Hill (8th December); Keith Burstein’s chamber music (14th December); Plus Minus play Armstrong, Franzson, Miller and Rodgers (18th December)

1 Dec

Some December classical manifestations of various kinds…

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'Shiva Feshareki: Late-Night Firebird', 6th December 2018

As part of the ongoing Spitalfields Music Festival, composer and turntablist Shiva Feshareki will be performing her own vinyl-manipulation rebuild of Stravinsky’s ‘Firebird’ in Bethnal Green on the 6th December- as “a live turntable composition that she forms in the moment. Using her trademark turntabling techniques, she deconstructs Stravinsky into new forms and perspectives, using nothing other than the original composition on vinyl. Expect sonic manipulations that bend time and play with space and perspective, transforming The Firebird into new shapes that reveal its sculptural depths.”

Here’s the woman at work on various projects over the last two years: there’s a clip from her saxophones, ensemble and turntables concerto about four minutes in…


 
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Fortismere Community Choir: 'Composed By Women & Christmas Carols', 8th December 2018

Fortismere Community Choir: ‘Composed By Women & Christmas Carols’, 8th December 2018

On the same night, in north London, Fortismere Community Choir will be performing a concert mingling standard Christmas carols with music composed by assorted female composers. Alongside the tunes about mangers and heralding angels, you can expect to hear a programme of music stretching (in varied leaps) across a thousand years, from the mediaeval carnal/spiritual chant of Hildegard von Bingen‘s ‘O quam mirabilis est’, the Romantic grace of Clara Schumann‘s ‘Abendfeier in Venedig’ and Ethel Smyth’s 1920s suffrage anthem ‘March of the Women’.

There are also latterday works – the reinvented English chorale influences of Cecilia McDowall‘s ‘Ave Maris Stella’; the fusion of African-American spirituals, American art songs and German/Italian choral music tradition in Rosephanye Powell‘s ‘Glory Hallelujah’; and the world premiere of ‘Women’s Rights’, a new composition by an emergent young British contemporary composer, Phoebe McFarlane.

Examples of most of the programme below:






 
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'Keith Burstein. Chamber Music. The Beauty Power.' Friday 14th December 2018On the 14th, composer Keith Burstein returns to Waterloo’s 1901 Club for another lunchtime concert featuring an hour’s worth of Burstein piano and chamber music.

Some new pieces will be making their debut, with the trio lineup of cellist Corinne Morris, clarinettist Peter Cigleris and Keith himself on piano joined by mezzo-soprano Sarah Denbee on the sarcastically-titled Northern Irish Backstop March, and Keith also presenting the live premieres of his piano preludes ‘The Beauty Power’, ‘Sonata’ and ‘Moto Perpetuo’. In addition, there’ll be the piano/clarinet/cello trio ‘Memories of Lithuania’, the ‘Wiosna’ cello sonata and a fourth piano prelude (‘The Ferryman’) while the concert will open with Keith and Sarah performing four songs for mezzo soprano and piano (‘Longing’ and ‘Heaven Riven’, both originally from the ‘Songs of Love and Solitude’ cycle, plus ‘Futility’ and ‘Atonement’).

This summer’s performances of Keith’s latest opera ‘The Prometheus Revolution’ seems to be contributing to pulling him out of the relative critical cold he’s often labored under. He’s now being hailed for the “sheer fertility” of his melodic instinct by ‘Planet Hugill’, and received approving notes from venerable critic Meiron Bowen regarding his revitalization of “the virtues of pre-twelve-tone music and all the techniques that have been explored since.” You can choose whether or not you buy into his vigorous philosophy of “super-tonalism” (within which Keith reasserts the tonal idiom which he considers to have been steamrollered out of credibility by the more cultish aspects of serialism and atonalism, while also aiming to blend in other musical lessons learned throughout the twentieth century). What isn’t in question is his connection to direct expression, and to creating music with an accessible human connection, as is evident from the pieces below. (You can read a longer summary of Burstein music in my preview of last year’s 1901 December chamber concert here.)




 
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Plus Minus: 'Armstrong, Franzson, Miller, Rodgers', 18th December 2018

On the 18th, the Plus Minus ensemble returns to its regular concert berth at City University for an evening of instrumental music with electronics by “four of the most refined and distinctive voices in contemporary music”, in a more straightforward form than their recent, more performative tour. Ensemble member Newton Armstrong provides two pieces (‘thread—surface’ and ‘the way to go out’), while his former student Georgia Rodgers provides one (‘St. Andrew’s Lyddington’). The remaining two pieces are ‘Traveller Song‘ by Cassandra Miller (whose compositional sense was described by ‘Musicworks’ as “the wryness of Samuel Beckett in combination with the whimsy of Italo Calvino”) and a new, as-yet-unrevealed work by New York-based Icelandic composer Davíð Brynjar Franzson (whose compositions are characterised by “an installation character, transporting the listener into some sort of temporal limbo, where a sense of the static is layered with delicate inner quickening…. exquisite tangible tension.”).

According to the programme notes, “each of these composers is concerned, albeit in different ways, with the fundaments of the compositional act and the manner in which sonic materials can be contextualised, processed, layered and transcribed. Plus Minus aims to present an evening of music that is strikingly contemporary without recourse to outside references, current technologies or multimedia. it is a focussed program that seeks to sonically take stock of where we are in new music today by stripping back the layers so that only the sound remains.” This is a free event with limited capacity, so book for it soon.

 
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Dates, times, places and links:

  • Shiva Feshareki: ‘Late-Night Firebird’ – St John on Bethnal Green, 200 Cambridge Heath Road, Bethnal Green, London, E2 9PA, England, Thursday 6th December 2018, 9.30pm – information here
  • Fortismere Community Choir: ‘Composed By Women & Christmas Carols’ – St Andrews Church, Church Crescent, Muswell Hill, London, N10 2DD, England, Saturday 8th December 2018, 7.30pm – information here and here
  • Keith Burstein/Corinne Morris/Peter Cigleris: ‘Keith Burstein. Chamber Music. The Beauty Power.’ – 1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England, Friday 14th December 2018, 12.00pm – information here and here
  • Plus Minus: ‘Armstrong, Franzson, Miller, Rodgers’ – Performance Space, College Building @ City, University of London, St John Street, London, EC1V 4PB, England, Tuesday 18th December 2018, 7.00pm – information here and here

October 2017 – upcoming London classical gigs – Music-in-Motion & Gildas Quartet immersive show, and the Ligeti Quartet’s ‘Remembering the Future’ (both 28th October)

8 Oct

There’s a couple of classical concerts at the end of the month: not necessarily groundbreaking in what they play (although there is one premiere involved) but interesting in how they arrange their programme or in how they perform it.

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Music-in-Motion, 28th October 2017

Conway Hall Ethical Society presents:
Music-in-Motion Ensemble & Gildas Quartet, directed by John Landor
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Saturday 28th October 2017, 3.30 pm & 7.30pm; Tuesday 31 October 2017, 7.30pm
information

“Following his powerful staging of Janáček’s ‘Kreutzer Sonata’ with the Gildas Quartet at Conway Hall last May, John Landor returns with the quartet and the newly-formed Music-in-Motion Ensemble of thirteen string players to present an eclectic programme of music from Purcell to Pärt.

“Immersive, visual and theatrical, Music-in-Motion brings a bold new aesthetic approach to the traditional classical concert. Turning the whole auditorium into a “theatre of music”, the musicians become embodied channels of the musical drama, dissolving boundaries between performers and audience. You are welcome to sit, stand, or even lie down pretty much anywhere during the performance, so you can bring your own cushion or mat, or use ours. It’s a social event too! At the evening concerts, you can bring in drinks from the bar, and everyone is invited to the ‘after-party’ where audience and performers can mingle and discuss the performance, or indeed anything else!”

What this means in practise is the exploding of the orchestral positioning and of orchestral uniformity – while retaining the hidden discipline of the orchestral units, the musicians wander out on their own across the performance space and through the audience as individuals rather than remaining en bloc, with each performer free (and encouraged) to act out the emotionality of the music. The set’s a selection of well-known repertoire war horses: the presentation and implications are less familiar.

Programme:

Johann Sebastian Bach – Brandenburg Concerto No. 3 in G BWV1048
Antonio Vivaldi – Sinfonia al Santo Sepolcro in B minor RV169
Arvo Pärt – Fratres
Leoš Janáček – String Quartet No. 1 ‘Kreutzer Sonata’
Henry Purcell – Chacony in G minor
Edward Elgar – Introduction and Allegro Op. 47

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The Ligeti Quartet present “Remembering the Future: Tradition and the Contemporary String Quartet”
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 28th October 2017, 7:30pm
information

Since their formation in 2010, Ligeti Quartet, 2017The Ligeti Quartet (violinists Mandhira de Saram and Patrick Dawkins, viola player Richard Jones and cellist Val Welbanks) have commissioned multiple new works and collaborated with artists from all types of musical backgrounds including Anna Meredith, Elliot Galvin, Kerry Andrew (Juice Vocal Ensemble, You Are Wolf), Laura Jurd, Meilyr Jones, Neil Hannon (The Divine Comedy), Seb Rochford (Polar Bear), Shabaka Hutchings (Sons of Kemet, The Comet is Coming), Shed 7 and Submotion Orchestra. They are currently working on a long-term project with Ernst von Siemens prize-winning composer Christian Mason to create a series of ‘Songbooks’ for string quartet, based on overtone singing traditions from around the world.

For this performance, the Ligeti Quartet are performing traditional (20th century) and contemporary pieces. These include two Bach related works (a Sofia Gubaidulina tribute and a Birtwistle rearrangement of fugues, , a revival of the debut composition by http://www.plusminusensemble.com Plus-Minus Ensemble co-leader/Cut and Splice curator Joanna Baillie (originally written for Apartment House, and performed here in its 2006 string quartet version) and a brand new piece by former Unthanks member/ Streetwise Opera composer-in-residence/Timeline Songs director Stef Conner (whose body of work as a composer has revealed her as a walker and crosser of fine lines between classical, folk, jazz and antiquity).

Programme:

Johann Sebastian Bach (arr. Harrison Birtwistle) – Three Fugues from the Art of Fugue
Anton Webern – String Quartet, Op. 28
Joanna Baillie – Five Famous Adagios (2006 string quartet version)
Stef Conner – (LQ Commission, title tbc) (premiere)
Igor Stravinsky – Concertino for String Quartet
Sofia Gubaidulina – Reflections on a Theme B-A-C-H
Georg Friedrich Haas – String Quartet No. 2
 

November 2016 – upcoming gigs – iamthemorning’s two shows with Tim Bowness in London and Ulft (12th, 14th) and three more in the Netherlands (16th-18th)

10 Nov

iamthemorning, November 2016 tourOriginally hailing from Saint Petersburg, iamthemorning is the partnership of self-taught, progressive-rock-inspired singer Marjana Semkina and meticulously-taught classical pianist Gleb Kolyadin; it’s also what happens when their conflicting backgrounds and sympathetic musicalities merge. Using pick-up ensembles of classical and rock musicians, they stage their music in multi-media chamber shows; swelling out to small orchestral arrangements, efflorescent electric guitar and tape inserts. Whenever this isn’t possible, they’ll strip themselves back to a string-augmented quartet. When that‘s not possible either, they’ll revert to the original duo, trusting in Gleb’s virtuosic St. Petersburg Conservatory piano skills to cover (or at least intimate) the orchestral role behind the lustrous drama of Marjana’s voice.

Marjana and Gleb’s burnished, budded musicality shows a clear affinity with the British literary mythoscape. Their burgeoning pre-autumnal songs certainly possess, amongst other things, tints of English and Breton-Celtic folk and a certain pre-Raphaelite glow; recalling, on a surface level, that billowing school of female-fronted prog-folk which includes Renaissance or Mostly Autumn (or, on the arresting death-lays which bookend this year’s ‘Lighthouse’ album, the glimmering Celtic feytronica of Caroline Lavelle). All of this probably had a lot to do with ‘Lighthouse’ scooping up ‘Prog’ magazine’s Album of the Year award for 2016.


 
Chamber-prog is the term the band themselves choose, and the one that’s usually applied to them. Tagging them with the prog label, however (complete with all of the blowsy, blustering AOR associations which got gummed to it during the 1980s), seems a little reductive. iamthemorning‘s meticulous immersion in advanced harmony and arrangement puts them square into the tradition of florid electro-acoustic neoromantics – the densely skilled ones who own a strong affinity to the tail-end of Romantic music but arrive several generations too late; the ones who often fall into prog by default, through a love of rock amplification and of what happens when song meets electric surge). Consider the dogged grand orchestralism thundered out by Robert John Godfrey in The Enid. Consider Kerry Minnear, slipping his haunting yet sophisticated quiet-man ballads through the busy humour of Gentle Giant (referencing romanticism and modernism as he did so: deeper rills through the romping). Consider the late Keith Emerson and how (behind ELP’s circus vulgarities and rollicks through baroque, Bach and barrelhouse) he too maintained a fascination for the rich harmonic and melodic upheaval where romanticism meets modernism; capturing it in his brash adaptations of Ginastera and Rodrigo, and listening towards the eastern European strains of Mussorgsky, Janáček and Bartók.


 
This last, in turn, brings us to Gleb and his own deep immersion in the likes of Stravinsky (there are videos of him playing ‘The Rite Of Spring’ and clearly adoring it); one of the reasons why, however much an iamthemorning song may slip along like a scented bath, there’s always more shading and detail in its depths. The other reason is Marjana’s growing determination to back the petal-sheened sonic prettiness and concert-hall glamour with more profound psychological resonance, turning the ‘Lighthouse’ concept into a diary of mental illness and the struggles to survive it. The band might still be in the early stages of establishing a lyrical and conceptual maturity to match the breadth of their musicality, but there’s plenty of space and opportunity to do this. The currents of invention under the lush surface slickness, and the clear willingness of Gleb and Marjana to challenge each other and to grow together, make iamthemorning a band to watch.

iamthemorning & Tim Bowness, 12th-18th November 2016Tim Bowness, on the other hand, has been through much of this already, having persistently edged and developed his visions from the turbulent romantic moodism of his earlier work to his current, exquisitely-honed portraits of human vulnerability. Forced in part by increasingly long gaps in the open musical marriage of his main band no-man, he’s been demonstrating himself, step by step, to not be merely a band singer blessed with a rich, poignant whisper of a voice and a sharp sense of understated lyrical drama, but a formidable solo artist with a mind for matching and fusing together diverse sounds and musical elements.

Erstwhile/ongoing no-man partner Steven Wilson may get more of the plaudits these days, but Tim’s growing list of solo albums are every bit as good. Bridging Mark Hollis with Mark Eitzel, Robert Wyatt with David Sylvian and Peter Gabriel with Morrissey, they work off a confidently-expanding sonic palette of spiky caressing art-rock guitar, luxuriant keyboard and drum work, strings and atmospherics. As ever with Tim, the subject matter is tender and bleak – including thwarted ambitions, the shaping and stripping of love by time and mortality, and (increasingly) shades of the north-western landscapes and dilemmas to which Tim owes his own initial artistic formation.


 

While he’s currently brewing a welter of projects (including a long-overdue second duo album with Peter Chilvers, the resurrection of his angsty 1980s Mersey art-pop quartet Plenty, and assorted work with Banco de Gaia, contemporary classical composer Andrew Keeling and Happy The Man’s Kit Watkins), Tim’s main focus is his still-in-progress fourth solo album, ‘Third Monster On The Left’. This is sounding like his most ambitious project to date: a conceptual musical memoir centring on the backstage thoughts of a fictional, fading classic-rock musician, awash in the garden and graveyard of talent that was the 1970s. For ‘Third Monster On The Left’, Tim promises (as part of the context-appropriate crafting) a more explicit version of the progginess that’s always fed into his art pop since the beginning: specifically, “the harmonic richness and romanticism of 1970s Genesis, and the Mellotron-drenched majesty of early King Crimson.”

All of this makes the declared prospect of a Bowness/iamthemorning set of collaborative “shared bill, shared songs” concerts an interesting one. There’s already a connection via Colin Edwin, who’s played bass for both of them. On this occasion, Tim will be bringing along band regulars Michael Bearpark (guitar), Stephen Bennett (keyboards) and Andrew Booker (electronic drums) plus returning cohorts Steve Bingham (violin, loops) and Pete Morgan (bass). Some or all of these will be pulling double duty backing iamthemorning, alongside whoever Gleb and Marjana brings along. What’s most intriguing, though, is what this hand-in-hand teamup is going to bring out in both parties. Beyond the luxuriant tones, there’s useful artistic tinder in their differences, their similarities, and their internal contradictions alike.

At its best, there ought to be push-and-pull. Tim’s austere taste for unvarnished modernism and stark realism is ever compromised by a sensual greed for the textures of romance: Gleb and Marjana swim in an ocean of effusive orchestral indulgence, but now want to grap stone and dirt. He’ll give them an exquisitely pained art-pop ballad, pared clean of fairytale delusions and as slender as a greyhound; they’ll polish and expand it back into dreamscape. They’ll give him a perfumed Edwardian garden: he’ll slouch in, with his Beckett and Kelman paperbacks, to lay a grit path. He’ll bring out their darker, less-resolved deep chords. They’ll bring out his blushes.

The odds are fair that they’ll make a collective attempt at the title track from ‘Lighthouse’ (though they’ll probably not risk a medley with the no-man epic of the same name). I’m also hoping for a Gram-and-Emmylou-shaded prog harmony on Tim’s heart-breaking Know That You Were Loved; or perhaps a morningification of Dancing For You. We’ll see…




 
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iamthemorning with Tim Bowness:

  • IO Pages Festival @ Poppodium DRU Cultuurfabriek, Hutteweg 24a, 7071 MB Ulft, Netherlands, Saturday 12th November 2016, 2.30pm (with Gazpacho + Anekdoten + Lesoir + Marcel Singor + A Liquid Landscape + Anneke van Giersbergen) – information here and here
  • Bush Hall, 310 Uxbridge Road, Shepherds Bush, London, W12 7LJ, England, Monday 14th November 2016 – information here and here

Immediately after the Bowness shows, iamthemorning embark on three more shows on their own in the Netherlands – details below. Depending on which one you attend, you could see the band in any one of its three main playing configurations.

  • Hedon, Burg Drijbersingel 7, 8021 DA Zwolle, The Netherlands, Wednesday 16th November 2016, 8.00pm (chamber gig with violin & cello)information
  • De Pul, Kapelstraat 13, 5401 EC Uden, The Netherlands, Thursday 17th November 2016, 9.00pm (duo gig)information
  • Patronaat, Zijlsingel 2, 2013 DN Haarlem, The Netherlands, Friday 18th November 2016, 7.30pm (full band gig)information

 

Mini-album reviews – Bob Burnett: ‘Loops & Lines’ (“sample, hold’n’swing”)

13 Jul
Bob Burnett: 'Loops & Lines'

Bob Burnett: ‘Loops & Lines’

Santa Cruz jazzer Bob Burnett is an oddity, someone who’s ostensibly extremely straight but gets there in a puzzling way. He loves his semi-acoustic guitar – keeps it clean, plays it with an economical and modest Wes Montgomery twinkle – but he’ll dab in a few colours on guitar synth and is also very much into what digital sampling offers the modern composer.

This you’d expect in somewhere like New York City – hip-hop saturated, with digital cut-up/jazz crosstalk from the likes of M-Base or Q-Tip. Coming from Bob, it’s a little less of an obvious path – a transplanted New Jersey-ite now residing in roots-band heaven, he’s played with world-beat bands Kosono and Pele Juju for much of the past decade. With ‘Loops And Lines’ Bob’s giving his sample, hold’n’swing ideas their first recorded outing.

At root, these are pretty cosy ideas. Don’t come in expecting a cross between John Scofield and Disco Inferno, nor yet The Young Gods playing Gil Evans. That living-in-California easiness initially makes ‘Loops & Lines’ sound like an Acid Jazz comedown pleaser. But although the six pieces on the mini-album are sweet enough to be lounge-fare, they’re also lush enough for a lock-in. Bob’s music is refreshingly innocent of guile, but that doesn’t mean that it’s without a dash of wit: a quality which is a precious balance within sampler culture.

Together builds on a moment from John McLaughlin’s Peace One, as the guitarist skips spider-fashion across his low strings: joining in, Bob swings tastefully over the top while Rhan Wilson’s bells and assorted metals mist the edges. Igor plays a similar trick with a few phrases and deep string chops from Stravinsky’s ‘Soldier’s Tale’, Bob adding some Hawaiian lines over the top of the thudding march of deep strings and drums. For Out West he affectionately samples some local-band friends (Pipa & The Shapeshifters) to craft a little bit of Portishead spy music – Adrian Utley’s breed of Duane Eddy twang, with the big stoned swats at the drumkit and the sound of rain sifting down in the background.

Most successfully, there’s Home James in which Bob stitches together a dream jam between himself, Jimi Hendrix, Charlie Parker and John Coltrane. Bright and cheerfully funky, it’s close to an Us3 moment. You expect a laid-back rapper to come strolling in at any moment, with rhymes about strolling by Electric Ladyland with a spliff and a sax case. Instead, what you get sounds more like Bob finding all three legends together at the same Harlem party; each in a separate conversation but still meshing, by happy chance, into a common thread and rhythm. The music – and the falls together with a simple eloquence. Trane throws out a sinous four-note tenor wave from Countdown; Bird counters with a acquiescent call from Night In Tunisia. Somewhere in the background Jimi chips in with a reverberant Band Of Gypsies clang. Bob’s sweet and skinny guitar bubbles throughout the whole thing, chatting merrily away on the breaks.

The only things missing are the “yeah!”s and the punctuation of hand-talk. In fact if it weren’t for the tall (and dead) shadows which that all-star trio cast, Home James would almost convince as a genuine studio jam. Surprisingly, it’s a humble piece: Bob never feels like he’s stealing from his three luminaries, nor as if he’s harbouring vain hopes of cutting them in competition. It’s all about making the links, making a might-have-been occasion; being the helpful guy in the middle.

In fact, on ‘Loops & Lines’ it’s not so easy to work out when, exactly, Bob has got his sampler switched on. He has a remarkably subtle touch as a samplist. In contrast to the way, say, Young Gods or Jesus Jones would proudly ride on the back of a blatant parade of loops, he’s more interested in the seamless interweaving of sample and solo, using temporary digital capture to get more musicians and voices flickering in and out of his virtual band. If, via the magic of samping, he can bring the amicable ghosts of the Johns and the Jimis round to his local bar for a few beers and a blow through one of his tunes, he’s happy.

For instance, Decoy might make use of another Coltrane sample, as well as drawing on snippets of American pop TV themes – ‘King Of The Hill’, ‘Teen Angel’ – but there’s no separation between those inserted elements, the light-footed touches of the live rhythm section, and Bob’s mellow-mischievous guitar skips taking centre stage throughout. The reggae-fied ripple of Lower Nile (the disc’s only cover version) brings back a live band, winds soprano sax through North African melodies… and uses no samples whatsover apart from a few jungle chirps and rustles.

In the end, “Loops & Lines’ is an announcement of relaxed intent; short, sweet and discreet. It’s interesting to indulge the thought of Bob Burnett taking it to slightly wilder climes – maybe coming on like Ronnie Jordan playing over found-sound backdrops. But I get the feeling that he’s happier just stretching loops round the barbeque, shooting the breeze with heroes and friends, providing small glows of warmth rather than burning it up with his music.

Bob Burnett: ‘Loops & Lines’
Bob Burnett, 9801 (no barcode)
CD-only mini album
Released: 1998

Get it from:
Bob Burnett.

Bob Burnett online:
Homepage Facebook MySpace Last FM YouTube

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