237:, there is little melodic connection between the overture and the cycle, with the exception of the opening theme of the first song, "Asie", which uses a theme, based on a modally inflected scale, similar to one near the beginning of the overture. Ravel originally conceived the cycle with "Asie" coming last, and this order was adopted at the premiere, but his final preference, in the published score, gives a sequence steadily decreasing in intensity; the critic Caroline Rae writes that the music moves "from rich voluptuousness and gentle lyricism to languid sensuousness".
1814:
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Ravel was particularly concerned about the line "En conservant comme
Sindbad ma vieille pipe arabe de temps en temps entre mes lèvres" ("Like Sinbad, keeping my old Arab pipe between my lips from time to time"). In Parisian slang, "pipe" had a phallic double-meaning; Klingsor changed the line to have
567:
The final song of the cycle has prompted much speculation. The poet, or his imaginary speaker, is much taken with the charms of an androgynous youth, but fails to persuade him to come into his – or her – house to drink wine. It is not clear whether the boy's admirer is male or female; one of Ravel's
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of the same name, a work that Ravel also much admired. Ravel and
Klingsor were fellow members of a group of young creative artists calling themselves "Les Apaches" (the Hooligans); the poet read some of his new verses to the group, and Ravel was immediately taken with the idea of setting three of
249:
fantasy evoking Arabia, India and, at a dramatic climax, China." With the continually repeated words "je voudrais voir…" ("I should like to see…" or "I want to see…"), the poet, or his imagined speaker, dreams of escape from quotidian life into a
European fantasy of Asian enticements. The music
98:
on 27 May 1899, conducted by the composer. It had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the
Russian School" and called Ravel a "mediocrely gifted
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In this song, a young slave girl tending her sleeping master, hears her lover playing his flute outside. The music, a mixture of sad and joyful, seems to her like a kiss flying to her from her beloved. The flute melody is marked by the use of the
130:
Constructed in the classical form of the overture, the piece opens with an introduction, in which the theme of
Scheherezade is given first by an oboe, and then by the horns and trumpets. Then comes the main part of the overture, consisting of:
568:
colleagues expressed the strong hope that the song would be sung by a woman, as it customarily is. The song is in E major, with oscillating string motifs in the orchestral accompaniment which, in Rae's view, are reminiscent of
Debussy’s
107:, who later became an admirer of Ravel. The composer assimilated Willy's criticism, describing the overture as "a clumsy botch-up", and recognising that it was "quite heavily dominated by the influence of Russian music" (
72:
in 1888. The first composition was heavily influenced by
Russian music, the second used a text inspired by Rimsky-Korsakov's symphonic poem. The musical relation between the overture and the song cycle is tenuous.
53:(1898), Ravel's earliest surviving orchestral piece, was not well received at its premiere and has not subsequently been among his most popular works. Four years later he had a much greater success with a
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Both the recordings of the song made in Ravel's lifetime are sung by women; the Ravel scholar Roger
Nichols wrote in 2011 that, as far as he knew, no male singer has recorded the song.
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Part 1: Initial motif, in B minor. Developments – episodic theme (muted trumpets) bringing in the second motif – in F sharp major – inspired by a
Persian melody – conclusion of Part 1.
91:, written in 1898 but unpublished during the composer's lifetime (it was only published in 1975), is a work for orchestra planned as the overture for an opera of the same name.
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The first, and longest, song of the three is in the dark key of E-flat minor. It typically lasts ten minutes in performance. It is, in Rae's words, "a panorama of
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214:". It was first performed on 17 May 1904 at a Société Nationale concert at the Salle Nouveau Théâtre, Paris, with the soprano
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increases in intensity as his imaginations become more feverish, until subsiding to end placidly, back in the real world.
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103:... who will perhaps become something if not someone in about ten years, if he works hard." This critic was "Willy",
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Part 3: Return of the first and second motifs heard simultaneously. Return of the introduction, serving as a coda.
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Whether the overture and the song cycle are musically related is debated. According to Ravel's biographer
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with the same title, which has remained a standard repertoire piece and has been recorded many times.
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834:, Concertgebouw Orchestra, Pierre Monteux, Audiophile Classics 2001 (live Amsterdam 20 November 1963)
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222:. The three songs of the cycle are individually dedicated by the composer to Hatto ("Asie"), Madame
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A programme note for the first performance, unsigned, but thought to be by the composer, reads:
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Liner notes to Decca CD 475-7712 (2006), OCLC 690157532 and HMV CD HMV 5-73446-2 (1999)
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them. He asked
Klingsor to make some minor changes before he set to work on the music.
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continued to interest Ravel. In the early years of the 20th century he met the poet
1178:,Three poems for voice and orchestra", Boston Symphony Orchestra, 27 September 2007
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A typical performance of the cycle takes about 15–16 minutes in total, comprising
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Part 2: Development of four themes. Pedal based on the original motif, expanded.
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Frederica von Stade, Boston Symphony Orchestra, Seiji Ozawa, Columbia, 1981
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Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
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828:, the Orchestre de la Suisse Romande, Ernest Ansermet, Decca, 1963
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Both settings are influenced by Russian composers, particularly
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39:. Both have their origins in the composer's fascination with
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I want to see those who die for love or, better, for hatred.
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assez fortement dominé par l'influence de la musique russe
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I want to see crafty merchants with suspicious glances,
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Je voudrais voir la Perse, et l'Inde, et puis la Chine,
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Je voudrais voir d'âpres marchands aux regards louches,
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815:, Music and Arts, 2006 (live Strasbourg 13 June 1952)
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solo and orchestra, setting the words of Klingsor's "
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1271:. New Haven, US and London: Yale University Press.
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To tell my adventure to people interested in dreams
146:The playing time of the piece is about 13 minutes.
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280:Comme un immense oiseau de nuit dans le ciel d'or.
1074:"Maurice Ravel: Shéhérazade, Ouverture de Féérie"
348:Je voudrais voir mourir d'amour ou bien de haine.
314:Qui du seul mouvement de leur doigt qui se penche
35:is the title of two works by the French composer
485:La flûte enchantée: text and English translation
419:I want to see Persia, and India, and then China,
811:Germaine Moysan, Orchestre National de l’ORTF,
441:While the executioner cuts off an innocent head
389:I want to see Damascus and the cities of Persia
354:En élevant comme Sindbad ma vieille tasse arabe
306:Je voudrais voir des calumets entre des bouches
282:Je voudrais m'en aller vers des îles de fleurs,
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645:And from my doorway I watch you go on your way
530:With his long, yellow nose in his white beard.
383:I want to sail away to the islands of flowers,
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790:Marcelle Gerar, the Orchestre du Gramophone,
415:Who with one movement of their bending finger
381:Like a vast nocturnal bird in the golden sky.
288:Je voudrais voir Damas et les villes de Perse
272:Asie, je voudrais m'en aller avec la goëlette
266:Vieux pays merveilleux des contes de nourrice
8:
421:Pot-bellied mandarins under their umbrellas,
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203:
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778:Source: Decca 1963 and HMV 1967 recordings.
578:L'indifférent: text and English translation
344:Je voudrais voir des pauvres et des reines;
316:Accordent vie ou mort au gré de leur désir.
268:Où dort la fantaisie comme une impératrice,
94:It was first performed at a concert of the
1871:Music based on One Thousand and One Nights
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889:Orchestre national du Capitole de Toulouse
588:Tes yeux sont doux comme ceux d’une fille,
526:The shade is pleasant and my master sleeps
499:Et son long nez jaune en sa barbe blanche.
437:With a figure in the middle of an orchard;
367:Ancient, wonderful land of nursery stories
358:Pour interrompre le conte avec art. . . .
1320:International Music Score Library Project
1170:
1168:
1076:, Chandos Records, retrieved 26 June 2015
629:Of your fine features, shadowed with down
616:Par ta démarche féminine et lasse. . . .
433:Contemplate at leisure landscapes painted
373:Asia, I want to sail away on the schooner
336:Avec un personnage au milieu d'un verger;
328:Je voudrais m'attarder au palais enchanté
320:Les mandarins ventrus sous les ombrelles,
302:Je voudrais voir des vêtements de velours
296:Je voudrais voir des yeux sombres d'amour
292:Je voudrais voir de beaux turbans de soie
278:Et qui déploie enfin ses voiles violettes
984:Sinbad raising his Arab cup to his lips.
623:Your eyes are soft as those of any girl,
509:Un air tour à tour langoureux ou frivole
429:I want to linger in the enchanted palace
352:Narrer mon aventure aux curieux de rêves
338:Je voudrais voir des assassins souriants
294:Sur des visages noirs aux dents claires;
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927:Orchestre national des Pays de la Loire
612:Me faisant un dernier geste avec grâce,
540:A tune by turns languorous and carefree
455:Raising – like Sinbad – my old Arab cup
393:I want to see beautiful turbans of silk
391:With their slender minarets in the air.
340:Du bourreau qui coupe un cou d'innocent
334:Sur des étoffes en des cadres de sapin,
332:Contempler à loisir des paysages peints
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598:Ta lèvre chante sur le pas de ma porte
544:And when I approach the lattice window
375:That rides in the harbour this evening
346:Je voudrais voir des roses et du sang;
300:En des peaux jaunes comme des oranges;
1572:Piano Concerto in D for the Left Hand
1093:
1091:
610:Et de mon seuil je te vois t’éloigner
515:Il me semble que chaque note s'envole
459:To interrupt the narrative artfully…
443:With his great curved Oriental sabre.
385:Listening to the perverse sea singing
369:Where fantasy sleeps like an empress,
342:Avec son grand sabre courbé d'Orient.
7:
596:Est plus séduisante encore de ligne.
513:Et quand je m'approche de la croisée
507:Tour à tour la tristesse ou la joie.
495:L'ombre est douce et mon maître dort
395:Over dark faces with gleaming teeth;
356:De temps en temps jusqu'à mes lèvres
290:Avec les minarets légers dans l'air.
754:La flûte enchantée: about 3 minutes
651:In your feminine and languid gait…
647:Giving me a graceful farewell wave,
631:Is still more seductive in profile.
594:De ton beau visage de duvet ombragé
546:It seems to me that each note flies
298:Et des prunelles brillantes de joie
284:En écoutant chanter la mer perverse
270:En sa forêt tout emplie de mystère.
1343:(archived on 31 March 2017 at the
1327:(archived on 31 March 2017 at the
1325:"Shéhérazade: ouverture de féerie"
1248:. Master Musicians. London: Dent.
1022:(archived on 31 March 2017 at the
1020:"Shéhérazade: ouverture de féerie"
901:, Orchestre de la Suisse Romande,
668:The score is orchestrated for two
606:Et que mon vin te réconforte . . .
497:Coiffé d'un bonnet conique de soie
371:In her forest filled with mystery.
322:Et les princesses aux mains fines,
254:Asie: text and English translation
25:
505:Une chanson de flûte où s'épanche
501:Mais moi, je suis éveillée encore
445:I want to see paupers and queens;
274:Qui se berce ce soir dans le port
1838:
1813:
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1316:Shéhérazade, ouverture de féerie
600:Une langue inconnue et charmante
407:I want to see long pipes in lips
379:And finally unfurls purple sails
324:Et les lettrés qui se querellent
308:Tout entourées de barbe blanche;
304:Et des habits à longues franges.
286:Sur un vieux rythme ensorceleur.
87:Shéhérazade, ouverture de féerie
18:Shéhérazade: ouverture de féerie
1866:Classical song cycles in French
1691:Pavane pour une infante défunte
1527:Pavane pour une infante défunte
1231:. Colchester: Chandos Records.
1174:Mandel, Marc. "Maurice Ravel –
635:A language unknown and charming
542:Which my dear lover is playing,
439:I want to see murderers smiling
423:Princesses with delicate hands,
397:I want to see dark amorous eyes
326:Sur la poésie et sur la beauté;
1703:Valses nobles et sentimentales
1555:Valses nobles et sentimentales
822:, Ernest Ansermet, Decca, 1955
820:Orchestre de la Suisse Romande
614:Et la hanche légèrement ployée
447:I want to see roses and blood;
417:Decree life or death, at whim.
409:Fringed round by white beards;
401:In skins as yellow as oranges;
350:Et puis m'en revenir plus tard
218:and an orchestra conducted by
43:, the heroine and narrator of
1:
1364:with commentary by the singer
966:Notes, references and sources
802:Paris Conservatoire Orchestra
794:, French HMV, 5 November 1928
641:And let my wine comfort you …
633:On my doorstep your lips sing
602:Comme une musique fausse. . .
451:And then to return home later
399:And pupils sparkling with joy
330:Et comme un voyageur étranger
27:Compositions by Maurice Ravel
1876:Song cycles by Maurice Ravel
1773:Pierre-Joseph Ravel (father)
534:And from outside I listen to
519:Comme un mystérieux baiser.
511:Que mon amoureux chéri joue,
457:From time to time to my lips
435:On cloth in pinewood frames,
431:And like a foreign traveller
405:And robes with long fringes.
387:To an old bewitching rhythm.
96:Société Nationale de Musique
1610:Sonata for Violin and Cello
919:, Deutsche Grammophon, 2004
403:I want to see velvet cloaks
312:Et des cadis, et des vizirs
226:("La flûte enchantée") and
119:and should instead emulate
1897:
1435:L'enfant et les sortilèges
1286:Orenstein, Arbie (1991) .
955:Orchestre National de Lyon
842:New Philharmonia Orchestra
664:Orchestration and duration
548:From the flute to my cheek
538:By turns, sadness and joy.
1808:
1677:Menuet sur le nom d'Haydn
1534:Pictures at an Exhibition
1405:
1227:Blakeman, Edward (1990).
1196:Nichols (2011), pp. 55–56
1037:); retrieved 26 June 2015
856:London Symphony Orchestra
649:And your hips gently sway
562:
536:A flute song, pouring out
276:Mystérieuse et solitaire,
1749:Trois poèmes de Mallarmé
1735:Don Quichotte à Dulcinée
1229:Notes to Chandos CD 8914
1153:, retrieved 25 June 2015
550:Like a mysterious kiss.
517:De la flûte vers ma joue
427:About poetry and beauty;
377:Mysterious and solitary,
1288:Ravel: Man and Musician
1263:Nichols, Roger (2011).
1244:Nichols, Roger (1977).
1046:Orenstein (1991), p. 24
832:Victoria de Los Angeles
637:Like music out of tune…
528:In his conical silk hat
1783:Impressionism in music
1778:Close and open harmony
1663:Le Tombeau de Couperin
1492:Le Tombeau de Couperin
1290:. Mineola, US: Dover.
1151:Philharmonia Orchestra
947:, Berlin Classics 2017
875:San Francisco Symphony
627:And the delicate curve
224:René de Saint-Marceaux
210:
204:
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105:Henri Gauthier-Villars
86:
1605:Piano Trio in A minor
1478:Alborada del gracioso
1205:Nichols (2011), p. 56
1187:Nichols (2011), p. 55
1064:Nichols (2011), p. 30
1055:Nichols (1977), p. 12
757:L'indifférent: about
503:Et j'écoute au dehors
413:And cadis and viziers
49:. The first work, an
1742:Histoires naturelles
1443:L'éventail de Jeanne
1410:List of compositions
1127:Nicols (2011), p. 56
909:Anne Sofie von Otter
895:, EMI Classics, 1984
532:But I am still awake
425:And scholars arguing
64:, who had written a
1721:Chansons madécasses
1625:String Quartet in F
1620:Violin Sonata No. 2
1615:Violin Sonata No. 1
1577:Piano Concerto in G
913:Cleveland Orchestra
818:Suzanne Danco, the
643:But no, you pass by
608:Mais non, tu passes
230:("L'indifférent").
192:, was composed for
111:). Another critic,
1649:Gaspard de la nuit
1541:Rapsodie espagnole
1362:Elizabeth Parcells
1360:featuring soprano
1109:Orenstein, p. 224
1033:2017-09-22 at the
751:Asie: 9–10 minutes
472:La flûte enchantée
205:La flûte enchantée
46:The Arabian Nights
1861:1903 compositions
1826:
1825:
1451:L'heure espagnole
1349:maurice-ravel.net
1333:maurice-ravel.net
1297:978-0-486-26633-6
1278:978-0-300-10882-8
1255:978-0-460-03146-2
1118:Orenstein, p. 148
1028:Maurice-ravel.net
658:
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592:Et la courbe fine
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365:Asia, Asia, Asia!
264:Asie, Asie, Asie,
16:(Redirected from
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1881:Orchestral songs
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1728:Two Hebrew Songs
1427:Daphnis et Chloé
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846:John Barbirolli
806:Ernest Ansermet
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179:symphonic suite
175:Rimsky-Korsakov
173:, inspired by
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66:symphonic suite
62:Rimsky-Korsakov
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917:Pierre Boulez
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37:Maurice Ravel
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961:, Naxos 2017
945:David Afkham
931:John Axelrod
905:, Erato 1986
903:Armin Jordan
899:Rachel Yakar
881:, Decca 1982
879:Edo de Waart
871:Elly Ameling
746:
730:glockenspiel
694:French horns
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216:Jeanne Hatto
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70:Scheherazade
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41:Scheherazade
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1800:Les Apaches
1565:Concertante
1548:Shéhérazade
1357:Shéhérazade
1340:Shéhérazade
1312:Shéhérazade
1176:Shéhérazade
860:Colin Davis
848:, EMI, 1968
838:Janet Baker
785:Discography
682:cor anglais
228:Emma Bardac
190:Shéhérazade
171:Shéhérazade
151:Shéhérazade
113:Pierre Lalo
78:Shéhérazade
32:Shéhérazade
1855:Categories
1794:The Bolero
1788:Ravel Peak
1656:Jeux d'eau
1641:Solo piano
1470:Orchestral
1001:References
722:tambourine
714:snare drum
187:song cycle
153:song cycle
55:song cycle
718:bass drum
702:trombones
686:clarinets
571:Nocturnes
159:exoticism
121:Beethoven
68:based on
1818:Category
1697:Sonatine
1499:La valse
1462:(ballet)
1446:(ballet)
1430:(ballet)
1237:28488316
1031:Archived
771:minutes.
726:triangle
700:, three
698:trumpets
690:bassoons
247:oriental
208:", and "
185:Ravel's
99:debutant
80:overture
51:overture
1766:Related
1684:Miroirs
1631:Tzigane
1593:Chamber
1583:Tzigane
1520:Miroirs
1454:(opera)
1438:(opera)
1221:Sources
766:⁄
734:cymbals
710:timpani
692:, four
674:piccolo
194:soprano
161:of the
117:Debussy
1831:Portal
1485:Boléro
1294:
1275:
1252:
1235:
800:, the
740:, two
696:, two
688:, two
684:, two
676:, two
670:flutes
654:
639:Enter!
604:Entre!
553:
462:
101:
1713:Vocal
1419:Stage
1347:from
1331:from
1267:Ravel
1246:Ravel
1026:from
971:Notes
742:harps
678:oboes
1292:ISBN
1273:ISBN
1250:ISBN
1233:OCLC
738:gong
706:tuba
680:and
672:and
241:Asie
202:", "
199:Asie
157:The
177:'s
1857::
1314:,
1167:^
1149:,
1132:^
1102:^
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1008:^
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1335:)
1300:.
1281:.
1258:.
1239:.
768:2
764:1
761:+
759:3
20:)
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