363:, who traveled to London to deliver it in early April. Steadfast in their refusal to accept the work, they would not meet with Giuseppina and wrote to Verdi that they could not accept performance of the cantata, since the necessary preparations would be too large an undertaking. Verdi arrived in London on 20 April, expecting that his work would be performed. Through much wrangling the commissioners remained firm in their refusal, Costa declaring that because it was scored for voices, not just for orchestra, it was against the rules of the Commission, that it had not arrived in time, and that there would not be enough time to rehearse. Verdi wrote to the publisher LĂ©on Escudier on 22 April telling him that his cantata would not be performed.
433:, not once nor twice only, but several times, to receive the heartiest tribute of approbation which an appreciative and sympathetic English audience could bestow. Not that the manifestations of good feelings were confined to applause alone, for bouquets and wreaths were showered on the favourite maestro, and favourite vocalists were even roused from their ordinary listlessness to do demonstrative honour to their illustrious countryman. The applause still continuing, the whole Cantata was then repeated. At the conclusion of the second performance Signor Verdi was then led forward by
329:
474:
desire to affirm Italy's musical, particularly its operatic, supremacy. This feeling is illustrated in the long letter which Verdi wrote to
Arrivabene: Marvin considers that Verdi, well aware of his own importance in the musical world, saw this as a chance to serve as a voice supportive of Italian music in an international context, although the composer expressed to both his publisher and to his friend Count Arrivabene his lack of interest in writing pieces for a given occasion.
42:
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321:
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418:(1 June 1862) underscores the difficulty: " unprecedented, incomprehensible conduct to a man of such celebrity as Verdi, refusing a composition which he took the pains to bring himself, excited such astonishment and so turned all sympathies to his side, that his composition became famous even before anyone had heard it."
621:
has noted that "Verdi's own experiment in combining national anthems sounds contrived because there has to be a certain amount of harmonic manipulation to make it possible" but he does regard "the bold, not to say reckless, combination of different melodies" as pointing the way forward and actually
486:
was presented six more times in London in 1862; the final occasion was on 16 June, along with all the music written for the 1862 International
Exposition. The Paris premiere took place on 2 May 1863 at the Théatre Italien at a benefit concert for the composer Charles Billema. The solo was performed
473:
Chorley and other critics charged Boito with presenting a biased view of
European harmony, one dominated by Italy. Marvin observes the cover art also shows Italy on a par with England and France and she hypothesizes that it was not financial gain that led Verdi to accept the commission but rather a
285:
series) considers that the committee did not initially ask Verdi to compose a piece because of
Chorley's antipathy toward the composer's works. Nevertheless, after Rossini's refusal, in 1861 the committee invited Verdi, offering four suggestions as to form: anthem, chorale, triumphal march (for
316:
who apparently conveyed to Verdi that he was composing a march for the occasion. In correspondence recalling this meeting, Verdi indicated that he was also composing a march. But in a subsequent letter to Costa he indicated he was writing an overture. Costa relayed this information to the
370:, published on 24 April, denying the claim: " let it be known that twenty-five days (enough to learn a new opera) were not enough to learn this short cantata; and they refused it." He continued by stating that he wanted to "correct the error – that I did not send my composition".
299:
Although Verdi detested writing occasional works, Marvin surmises that since Verdi was informed of the acceptance of the commission by Auber and
Meyerbeer, personal pride and the chance at representing Italy at an international exhibition were the key reasons he took up the commission.
411:"The effect seemed good, and it was encored ... Performance good on the whole, very good on the part of the orchestra. Arditi is a good conductor." Franco Faccio (who had been with Boito at their first meeting with Verdi) wrote to Boito: "The effect of the piece is irresistible."
377:, "The whole feeling of the country in this instance is with the Italian Maestro, and against the Commissioners. The cry has gone forth from one end of the kingdom to the other that a grievous wrong has been done, and that restitution is imperatively demanded."
445:
appears to be no favourable specimen of
Signore Verdi's peculiar manner, and beside being of a form entirely different from that in which he was invited to compose, is, in every point of taste and of art, unsuited to the occasion for which it was designed."
498:, although, in giving permission, Verdi was skeptical that it would be a success:"It will be a fiasco, as all my works are, when they are first performed in Milan". The first American performance took place on 28 April 1874 at the
466:", also known as "Inno di Mameli"). At the time, neither "La Marseillaise" nor "Il Canto degli Italiani" were their respective country's national anthem. Some critics, such as the unnamed one writing in the
352:." Though the commissioners rejected Verdi's proposal (believing the work would be too large for the exhibition space), Verdi refused their rejection and continued working on the cantata (he called the work
745:
10 May 1862, as reprinted in Marvin 2007, pp. xvii–xx: Marvin goes into great detail concerning the incident including its political ramifications and possible reasons for why it erupted so vehemently
344:. Marvin suggests the purpose of the meeting might have been to indirectly prompt Verdi to work on the commission. As a result of this meeting, Boito was charged with writing the text of the proposed work.
347:
On 19 March the commissioners received a letter from the composer "in which he expressed his wish to substitute for the overture a cantata with
Italian words, the solo part of which would be executed by
594:
as tenor soloist, the new orchestration incorporated the national anthems of
Finland, the Netherlands, Italy, United Kingdom, France, Australia, Canada, Mexico, Japan, Germany, and the United States.
312:, Verdi departed St. Petersburg and arrived in Paris on 24 February 1862. Two encounters influenced his decision to commence work on a composition for the exhibition. The first was with the composer
470:, incorrectly thought the inclusion of such nationalistic songs or the potential political embarrassment from their inclusion was the reason for the cantata's rejection from the inaugural concert.
609:
The "characters" in the critical edition are designated as the "Coro di Popolo" (Chorus of People of all nations) and the tenor soloist is "Un Bardo" (a poet) ("A Voice Among Them").
403:. "Every member" of Mapleson's company participated in the performance supplemented by 200 choristers of Jules Benedict's Vocal Association – the entire ensemble conducted by
385:
Verdi was in the audience for the inaugural concert of the
International Exhibition on 1 May 1862. The concert received only a lukewarm reception, making Verdi happy that his
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373:
Critical opinion sided with Verdi, and the blame fell on the commissioners. The incident proved embarrassing for them and for music director Costa. According to the
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full orchestra), or march (for wind instruments). While honored by the request, Verdi tentatively declined, despite the intervention of fellow
Italian and conductor
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254:
of 1851. Wanting to include musical performances (which were excluded from the 1851 exhibition), at the suggestion of the leading music critic
414:
Marvin feels that the controversy surrounding the genesis of the work makes it difficult to gauge contemporaneous reception. A review in the
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565:, which contains the national anthems of England, France, and Italy (the World War I allied nations), to which Toscanini added the Soviet "
236:
429:
At the conclusion of the Cantata Signor Verdi was loudly called for, and, after some delay, was led on by the energetic and enthusiastic
366:
The press received word of the refusal and wrote that the problem was Verdi's inability to meet a deadline. In response, Verdi wrote to
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left no time available. He promised to consider the question in February 1862, once the preparation of the opera was out of the way.
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809:
Verdi to Arrivabene, 2 May 1862, in Phillips-Matz, p. 449: "there is no corner of the world ... where Italian opera is not sung"
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1998:
555:. It was filmed at the NBC Studios and consists of Toscanini conducting the NBC Symphony in a performance of Verdi's Overture to
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573:". The film, which featured a performance by Toscanini and the same forces as the 1943 broadcast, was narrated by
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The cantata is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones,
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in a highly touted broadcast and the work was also the centerpiece of a 31-minute film for the United States
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The nave from the Western Dome. A stereoscopic view of the 1862 International Exhibition published by the
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Verdi to Ricordi, 24 April 1862, and to Arrivabene, 2 May 1862, in Phillips-Matz, pp. 448–449
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Cover of first edition of the vocal score of the hymn (design by Alessandro or Robert Focosi)
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Chorley's review continued his antagonism toward Verdi: "we must state frankly that the
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conducted it on 25 July 1915 in an outdoor arena in Milan, shortly after Italy entered
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Marvin 2007, p. xv: Marvin suggests that Verdi wrote the letter about 16 March.
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Reviewers questioned Verdi's decision to include songs representing England ("
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Most reviews tended to be overly sympathetic to the composer. The report in
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had not been programmed. The first performance of the cantata took place at
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in a single movement, is one of only two secular choral works composed by
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The Operas of Verdi, Volume 2: From Il Trovatore to La Forza del Destino
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in London announced their intention to hold what was to be called the
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on 24 May 1862. It became the centerpiece of a 1944 propaganda film,
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999:, 1862). Chicago: University of Chicago Press & Ricordi, Milan.
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Another rendition was commissioned for the ending of the documentary
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1013:. Royal Musical Association Monographs 24. Surrey: Ashgate, 2014.
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The Works of Giuseppe Verdi, Series IV, Vol. 1: Cantatas and Hymns
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606:, timpani, bass drum, cymbals, percussion, 2 harps, and strings.
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The first Italian performance took place on 24 June 1864 at the
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Secondly, two up-and-coming Italian writers, Arrigo Boito and
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The Operas of Verdi, Volume 3: From Don Carlos to Falstaff
168:". It was the first collaboration between the composer and
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on humanities.uchicago.edu. Retrieved 21 September 2013.
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Verdi to Ricordi, 12 June 1864, in Phillips-Matz, p. 475
317:
commissioners who agreed with the form of composition.
308:
When illness of the soprano forced a postponement of
1030:, London & New York: Oxford University Press.
529:Toscanini performed it on 31 January 1943 with the
380:
425:provides an example of the exaggerated reaction:
1990:
172:, who, much later, would revise the libretto of
876:"16 days of glory - Closing Ceremony - part 2"
1094:
864:. 29 April 1946 – via content.time.com.
359:He gave the completed manuscript to his wife
135:
1725:Orchestra Sinfonica di Milano Giuseppe Verdi
78:Italian, with portions in English and French
356:), completing it towards the end of March.
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1087:
983:Marvin, Roberta Montemorra, (Ed.) (2007),
622:being accomplished "with greater skill in
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274:(Italy). Rossini declined the invitation.
40:
724:, 23 April 1862, in Phillips-Matz, p. 448
513:Some of the 20th-century performances of
506:(a long-time assistant of Verdi's), with
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397:) on 24 May 1862, after a performance of
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277:Roberta Montemorra Marvin (who edited
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393:(at the time under the leadership of
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283:The Complete Works of Giuseppe Verdi
178:and write the original libretti of
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290:, claiming his duties in preparing
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2015:
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1011:The Politics of Verdi's 'Cantica'
909:section in the critical edition,
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1974:
1973:
1924:Giuseppe Verdi's Rigoletto Story
1652:
856:"Toscanini: Hymn of the Nations"
653:Phillips-Matz, pp. 446–449
537:as soloist, and choristers from
407:. Verdi wrote to his publisher
258:, they solicited new works from
207:, where it was performed by the
127:solo tenor, chorus and orchestra
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836:Marvin 2007, pp. xxi–xxii
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381:First performance and reception
1999:Compositions by Giuseppe Verdi
1165:I Lombardi alla prima crociata
1135:Oberto, Conte di San Bonifacio
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517:were for propaganda purposes.
16:1862 cantata by Giuseppe Verdi
1:
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248:1862 International Exhibition
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195:1862 International Exhibition
57:1862 International Exhibition
1944:Casa di Riposo per Musicisti
1689:Theatres named after Verdi (
1009:Marvin, Roberta Montemorra,
7:
1683:Memorials to Giuseppe Verdi
931:Budden, Vol. 2 1984, p. 435
922:Budden, Vol. 3 1984, p. 233
911:Cantica IV/1 - Hymns * Inni
237:London Stereoscopic Company
197:in London, it premiered at
10:
2020:
1793:Portrait of Giuseppe Verdi
937:
502:in New York, conducted by
482:After the world premiere,
156:. This Hymn incorporates "
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1935:
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1813:Verdi, the King of Melody
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1674:
1641:String Quartet in E minor
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1509:
1426:
1125:
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543:Office of War Information
539:Westminster Choir College
416:Revue et gazette musicale
332:Franco Faccio around 1865
264:William Sterndale Bennett
250:, seen as a successor to
193:Although written for the
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1481:Libiamo ne' lieti calici
1024:Phillips-Matz, Mary Jane
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571:The Star-Spangled Banner
1718:Giuseppe Verdi Monument
1445:Bella figlia dell'amore
1265:La battaglia di Legnano
969:Budden, Julian (1984),
478:Subsequent performances
464:Il Canto degli Italiani
262:(representing France),
166:Il Canto degli Italiani
1325:Les vĂŞpres siciliennes
531:NBC Symphony Orchestra
450:Political implications
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333:
325:
242:In December 1858, the
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209:NBC Symphony Orchestra
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1490:Un dì, felice, eterea
991:). (Contains Verdi's
788:Marvin 2007, p. xviii
590:in Los Angeles. With
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400:The Barber of Seville
391:Her Majesty's Theatre
331:
323:
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199:Her Majesty's Theatre
114:Her Majesty's Theatre
102:24 May 1862
1952:Verdi Transcriptions
1602:Un ballo in maschera
1548:La forza del destino
1375:La forza del destino
1365:Un ballo in maschera
1119:List of compositions
973:. London: Cassell.
845:Marvin 2007, p. xxii
733:Marvin 2007, p. xvii
665:Marvin 2007, p. xiii
588:1984 Summer Olympics
558:La forza del destino
395:James Henry Mapleson
310:La forza del destino
293:La forza del destino
252:The Great Exhibition
1784:Cultural depictions
1663:Quattro pezzi sacri
1511:Opera discographies
1067:Hymn of the Nations
950:. London: Cassell.
898:HYMN OF THE NATIONS
800:Marvin 2007, p. xix
779:Marvin 2007, p. xxi
711:Marvin 2007, p. xvi
674:Marvin 2007, p. xiv
641:Marvin 2007, p. xii
548:Hymn of the Nations
423:The Daily Telegraph
304:Composition history
204:Hymn of the Nations
145:Hymn of the nations
1711:Milan Conservatory
1632:Inno delle nazioni
1613:Other compositions
1335:I vespri siciliani
1145:Un giorno di regno
1048:Inno delle nazioni
1028:Verdi: A Biography
997:Inno delle nazioni
905:2013-09-21 at the
765:Marvin 2007, p. xx
720:Verdi's letter to
688:Marvin 2007, p. xv
563:Inno delle nazioni
515:Inno delle nazioni
484:Inno delle nazioni
456:God Save the Queen
334:
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279:Inno delle nazioni
240:
223:as tenor soloist.
137:Inno delle nazioni
23:Inno delle nazioni
1986:
1985:
1826:(1982 miniseries)
1823:The Life of Verdi
1760:Verdi, California
1472:La donna è mobile
1019:978-1-4094-1785-9
964:978-0-19-520450-6
956:978-0-19-520068-3
617:In modern times,
613:Critical reaction
508:Christina Nilsson
496:Teatro alla Scala
272:Gioachino Rossini
268:Giacomo Meyerbeer
217:Westminster Choir
158:God Save the King
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487:by a soprano,
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2004:1862 cantatas
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324:A young Boito
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1846:(2011 opera)
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1675:Recognitions
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1584:Il trovatore
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1499:Va, pensiero
1454:Celeste Aida
1436:Anvil Chorus
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69:Arrigo Boito
22:
1961:Villa Verdi
1884:La Traviata
1836:(1985 play)
1816:(1953 film)
1806:(1938 film)
1746:Verdi Range
1739:Verdi Inlet
1666:(1889–1897)
1593:La traviata
1328:(June 1855)
1315:La traviata
1069:(1943 film)
1056:Sheet music
523:World War I
266:(England),
1993:Categories
1954:(Finnissy)
1833:After Aida
1753:3975 Verdi
1530:Don Carlos
1388:(1867/84)
1385:Don Carlos
1378:(1862/69)
1255:Il corsaro
1228:(1847/65)
896:"CANTICA (
630:References
586:about the
535:Jan Peerce
361:Giuseppina
227:Background
221:Jan Peerce
106:1862-05-24
1575:Rigoletto
1348:(1857/81)
1295:Rigoletto
1285:Stiffelio
1245:JĂ©rusalem
722:The Times
525:. During
368:The Times
215:with the
98:Performed
1979:Category
1699:Florence
1691:Brindisi
1539:Falstaff
1415:Falstaff
1051:Allmusic
1026:(1993),
946:(1984),
903:Archived
894:Marvin,
604:cimbasso
187:Falstaff
164:", and "
117:, London
83:Composed
75:Language
52:Occasion
1904:Macbeth
1703:Trieste
1695:Busseto
1651:(1874)
1557:Macbeth
1408:(1887)
1398:(1871)
1368:(1859)
1318:(1853)
1308:(1853)
1298:(1851)
1225:Macbeth
1155:Nabucco
1074:YouTube
938:Sources
881:YouTube
569:" and "
545:called
443:Cantata
387:Cantica
354:Cantica
150:cantata
124:Scoring
104: (
88: (
30:Cantata
1927:(2005)
1917:(1987)
1907:(1987)
1897:(1986)
1894:Otello
1887:(1983)
1877:(1953)
1867:(1906)
1864:Otello
1796:(1886)
1643:(1873)
1635:(1862)
1625:(1848)
1566:Otello
1418:(1893)
1405:Otello
1358:(1857)
1355:Aroldo
1288:(1850)
1278:(1849)
1268:(1849)
1258:(1848)
1248:(1847)
1238:(1847)
1218:(1846)
1215:Attila
1208:(1845)
1205:Alzira
1198:(1845)
1188:(1844)
1178:(1844)
1175:Ernani
1168:(1843)
1158:(1842)
1148:(1840)
1138:(1839)
1126:Operas
1034:
1017:
1003:
977:
962:
954:
181:Otello
1060:IMSLP
598:Music
148:), a
1914:Aida
1874:Aida
1521:Aida
1395:Aida
1032:ISBN
1015:ISBN
1001:ISBN
975:ISBN
960:ISBN
952:ISBN
861:Time
624:Aida
561:and
281:for
219:and
184:and
160:", "
90:1862
86:1862
64:Text
1072:on
1058:on
626:".
67:by
32:by
1995::
1701:-
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1102:e
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142:(
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