If you see something that doesn't look right, contact us! However, much of his time was spent at the Paris-Opéra, where he absorbed Christoph Willibald Gluck's operas. "Davis and the LSO embark on their year-long journey through Berlioz", Sackville-West and Shawe-Taylor, pp. [6] Berlioz himself wrote that Harold in Italy drew on "the poetic memories formed from my wanderings in Abruzzi". The next year, he saw Harriet Smithson in the role of Ophelia and became captivated by the Irish actress. A later performance of the same work at the Opéra convinced him that his vocation was to be a composer. [53] The concert was such a success that the programme was repeated within the month, but the more immediate consequence was that Berlioz and Smithson finally met. Neither work brought him much money or artistic fame at the time,[6] but the Requiem held a special place in his affections: "If I were threatened with the destruction of the whole of my works save one, I would crave mercy for the Messe des morts". [91] He returned to London in 1852 and 1853, conducting his own works and others'. Holoman does not entirely agree with this analysis, finding the first movement "scarcely a sonata at all, but rather a simpler arch, with the 'false' return at [bars] 238–239 as its keystone". Hector Berlioz would have been 65 years old at the time of death or 211 years old today. The elder son of a provincial doctor, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. [47][n 9] He stayed for a few weeks in Nice and wrote his King Lear overture. Berlioz found his financial footing in the 1850s, when his L'Enfance du Christ (1854) was a success and he was elected to the Institut de France, thus enabling him to receive a stipend. Quotes"Time is a great teacher, […] Hector Berlioz wrote the Symphonie fantastique at the age of 27. Weingartner called it "a style-less mixture of different forms; not quite oratorio, not quite opera, not quite symphony – fragments of all three, and nothing perfect". [64] In Paris at this period, the musical success that mattered was in the opera house and not the concert hall. His father suggested law as an alternative profession and refused to countenance music as a career. [201], In addition to Davis's versions, Les Troyens has received studio recordings under Charles Dutoit and John Nelson; Nelson and Daniel Barenboim have recorded versions of Béatrice et Bénédict, and Nelson and Roger Norrington have conducted Benvenuto Cellini for CD. Some of them, such as "Hélène" and "Sara la baigneuse", exist in versions for four voices with accompaniment, and there are others for two or three voices. Berlioz was born on 11 December 1803,[n 2] the eldest child of Louis Berlioz (1776–1848), a physician, and his wife, Marie-Antoinette Joséphine, née Marmion (1784–1838). [162] Among the generation of French composers ahead of him, Cherubini, Méhul, Gossec and Berlioz's teacher Le Sueur all wrote for huge forces on occasion, and in the Requiem and to a lesser degree the Te Deum Berlioz follows them, in his own manner. [51], Vernet agreed to Berlioz's request to be allowed to leave the Villa Medici before the end of his two-year term. [98] He spent much of the next year in conducting and writing prose. The former included musical pedants, coloratura writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque counterpoint. [148] In 2008, the music critic Michael Quinn called it "an opera overflowing in every way, with musical gold bursting from each curve and crevice ... a score of continually stupendous brilliance and invention" but agreed with the general view of the libretto: "incoherent ... episodic, too epic to be comedy, too ironic for tragedy". [6], In 1824 Berlioz composed a Messe solennelle. [6] In August 1868, he felt able to travel briefly to Grenoble to judge a choral festival. Rosen comments that Berlioz "has his cake and eats it, too, as the sense of the dominant is so strong that it lasts through the substituted tonic, which gives a brightness to the climactic note that would make the 'right' harmonization seem impossibly bland. He liked French and Latin literature and travel books about faraway countries. [39], By now recoiling from his obsession with Smithson, Berlioz fell in love with a nineteen-year-old pianist, Marie ("Camille") Moke. When he died in 1869 he was a broken … Although baptised "Louis-Hector", he was always known as Hector. Protracted applause followed the performance, and the press reviews expressed both the shock and the pleasure the work had given. [175], Other selections from Berlioz's press columns were published in Les Soirées de l'orchestre (Evenings with the Orchestra, 1852), Les Grotesques de la musique (1859) and À travers chants (Through Songs, 1862). [76] The following year the Opéra commissioned Berlioz to adapt Weber's Der Freischütz to meet the house's rigid requirements: he wrote recitatives to replace the spoken dialogue and orchestrated Weber's Invitation to the Dance to provide the obligatory ballet music. His boundless artistic ambition was nourished by no more than a melodic gift of no great amplitude, clumsy harmonic procedures and a pen without pliancy. No other composer [is] so controversial as Hector Berlioz. It was at the Royal Opera House, Covent Garden; the work was sung in English with some minor cuts, but its importance was internationally recognised, and led to the world premiere staging of the work uncut and in French, at Covent Garden in 1969, marking the centenary of the composer's death. 66–67, List of compositions and writings by Hector Berlioz, Grove's Dictionary of Music and Musicians, "Smithson (married name Berlioz), Harriet Constance (1800–1854), actress", "Symphony guide: Hector Berlioz's Symphonie Fantastique", "Prom 47: Music-making of the highest order", "Damnation de Faust, La ('The Damnation of Faust')", "A listener's guide to Berlioz's The Damnation of Faust". Hector Berlioz: “Convinced that his love is spurned, the artist poisons himself with opium. Within a year of Raoul Gunsbourg's production of the piece at Monte Carlo in 1893 the work was presented as an opera in Italy, Germany, Britain, Russia and the US. After spending more than a year in Italy, he headed back to Paris, where a performance of his "fantastic symphony" took place in 1832. [101] In the same year he completed Les Troyens. Henri de Toulouse-Lautrec was a famed 19th-century French painter and poster artist known for works like 'The Streetwalker' and 'At the Moulin Rouge.'. [178] By 1963 Cairns, viewing Berlioz's greatness as firmly established, felt able to advise anyone writing on the subject, "Do not keep harping on the 'strangeness' of Berlioz's music; you will no longer carry the reader with you. Hector Berlioz He spent two years in Rome as part of his scholarship, where he came to detest the city but adored the surrounding countryside. [6], The first biography of Berlioz, by Eugène de Mirecourt, was published during the composer's lifetime. Louis Berlioz had relented enough to send his son a substantial sum to cover some of the expenses. [6] "La Captive", to words by Victor Hugo, exists in six different versions. [104], The last of Berlioz's operas is the Shakespearean comedy Béatrice et Bénédict (1862), written, the composer said, as a relaxation after his efforts with Les Troyens. [86] His other foreign tours during the rest of the 1840s included Austria, Hungary, Bohemia and Germany. A book, written in, will be brought forth ... That I am the cause of Thy pilgrimage. Despite that, Warrack considers up to a dozen songs from the 33 Mélodies well worth exploring – "Among them are some masterpieces. The Misunderstood Music Of Hector Berlioz (And Why It Matters) : Deceptive Cadence To mark the sesquicentennial of the composer's death — and a new box set of recordings — Berlioz … [180], Serious studies of Berlioz in the 20th century began with Adolphe Boschot's L'Histoire d'un romantique (three volumes, 1906–1913). 185–186, Barzun, p. 133; p. 2; Cairns (1999); Evans, p. 29; and Holoman (1989), p. 136. His Mémoires were published posthumously in 1870. At around the same time he encountered two further creative inspirations: Beethoven and Goethe. Considered Poland's greatest composer, Frédéric Chopin focused his efforts on piano composition and was a strong influence on composers who followed him. His best-known work in the genre is the song cycle Les Nuits d'été, a group of six songs, originally for voice and piano but now usually heard in its later orchestrated form. But it wasn’t a symphony the way the world knew it, for this symphony had a story. Excerpts from Les Troyens were available but there were no complete recordings of the operas. Hector was the first of six children, three of whom died. [6] A cantata for double chorus and large orchestra in honour of Napoleon III, L'Impériale, described by Berlioz as "en style énorme", was played several times at the 1855 exhibition, but has subsequently remained a rarity. By that time the composer had added to its two choruses a part for massed children's voices, inspired by hearing a choir of 6,500 children singing in St Paul's Cathedral during his London trip in 1851. Hector Berlioz’s funeral took place in Paris on March 11, 1869, and included a large procession, including a company of the National Guard. [159] The action focuses on the sparring between the two leading characters, but the score contains some gentler music, such as the nocturne-duet "Nuit paisible et sereine", the beauty of which, Cairns suggests, matches or surpasses the love music in Roméo or Les Troyens. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence. [115] He cites well-known studies of musical history in which Berlioz is mentioned only in passing or not at all, and suggests that this is partly because Berlioz had no models among his predecessors and was a model to none of his successors. [128] Berlioz took instruments hitherto used for special purposes and introduced them into his regular orchestra: Macdonald mentions the harp, the cor anglais, the bass clarinet and the valve trumpet. Pierre Boulez commented, "There are awkward harmonies in Berlioz that make one scream". He explained his practice in an 1837 article: accenting weak beats at the expense of the strong, alternating triple and duple groups of notes and using unexpected rhythmic themes independent of the main melody. Feelings about the merits of his music are seldom lukewarm; it has always tended to excite either uncritical admiration or unfair disparagement. Cairns translated and edited Berlioz's Mémoires in 1969, and published a two-volume, 1500-page study of the composer (1989 and 1999), described in Grove's Dictionary of Music and Musicians as "one of the masterpieces of modern biography". Cairns hypothesises that the shock of her death prompted him to seek out his first love, Estelle, now a widow aged 67. Hector Berlioz turned his back on a career in medicine to follow his passion for music, and went on to compose works that showcased the innovativeness and search for expression that were hallmarks of Romanticism. It was not His parents had five more children, three of whom died in infancy;[7] their surviving daughters, Nanci and Adèle, remained close to Berlioz throughout their lives. [32] In later works he reused parts of the score, such as the "March of the Guards", which he incorporated four years later in the Symphonie fantastique as the "March to the Scaffold". [20], The horrors of the medical college were mitigated thanks to an ample allowance from his father, which enabled him to take full advantage of the cultural, and particularly musical, life of Paris. His mother, Marie-Antoinette, was a devout Roman Catholic. "[173], Berlioz's literary output was considerable and mostly consists of music criticism. In 1950 Barzun made the point that although Berlioz was praised by his artistic peers, including Schumann, Wagner, Franck and Mussorgsky, the public had heard little of his music until recordings became widely available. [124] In Rushton's analysis, most of Berlioz's melodies have "clear tonal and harmonic implications" but the composer sometimes chose not to harmonise accordingly. The experience demoralised Berlioz, who wrote no more music after this. [136] In the 20th century critical opinion varied about the work, even among those well-disposed to Berlioz. [67][68], Shortly after the failure of the opera, Berlioz had a great success as composer-conductor of a concert at which Harold in Italy was given again. He presented it in Paris in December 1846, but it played to half-empty houses, despite excellent reviews, some from critics not usually well disposed to his music. [129] Some pictorial touches were included in symphonies by Beethoven, Mendelssohn and others, but the symphony was not customarily used to recount a narrative. It was performed twice, after which he suppressed the score, which was thought lost until a copy was discovered in 1991. Even among those unsympathetic to his music, few deny that Berlioz was a master of orchestration. [6] Macdonald identifies Harold in Italy, Benvenuto Cellini and Roméo et Juliette as the most obvious expressions of his response to Italy, and adds that Les Troyens and Béatrice et Bénédict "reflect the warmth and stillness of the Mediterranean, as well as its vivacity and force". [61][n 12], Berlioz secured a commission from the French government for his Requiem – the Grande messe des morts – first performed at Les Invalides in December 1837. Foreign tours featured prominently in Berlioz's life during the 1840s and 1850s. Do not forsake me on that day. Music did not at that time enjoy the prestige of literature in French culture,[6] but Paris nonetheless possessed two major opera houses and the country's most important music library. He had not been diagnosed for psychiatric problems until age 36 and he died at age 43 from paresis after several hospitalizations and an attempt to drown himself. [158] His libretto, based on Much Ado About Nothing, omits Shakespeare's darker sub-plots and replaces the clowns Dogberry and Verges with an invention of his own, the tiresome and pompous music master Somarone. [178][n 25] Like Strong, Turner was, in the words of the music critic Charles Reid, "unhampered by any excess of technical knowledge". "[125] The pianist and musical analyst Charles Rosen has written that Berlioz often sets the climax of his melodies in relief with the most emphatic chord a triad in root position, and often a tonic chord where the melody leads the listener to expect a dominant. Towards the end of the year he and Harriet separated. On 14 August 1834 their only child, Louis-Clément-Thomas, was born. [25] By the end of 1822 he felt that his attempts to learn composition needed to be augmented with formal tuition, and he approached Jean-François Le Sueur, director of the Royal Chapel and professor at the Conservatoire, who accepted him as a private pupil. Almost nothing is known of their relationship, which lasted for less than a year. The first, the Symphonie fantastique (1830), is purely orchestral, and the opening movement is broadly in sonata form,[130][n 20] but the work tells a story, graphically and specifically. Two years later, he left medicine behind to become a composer. [114], In his 1983 book The Musical Language of Berlioz, Julian Rushton asks "where Berlioz comes in the history of musical forms and what is his progeny". [88] When in Paris he visited her continually, sometimes twice a day. "use strict";(function(){var insertion=document.getElementById("citation-access-date");var date=new Date().toLocaleDateString(undefined,{month:"long",day:"numeric",year:"numeric"});insertion.parentElement.replaceChild(document.createTextNode(date),insertion)})(); Subscribe to the Biography newsletter to receive stories about the people who shaped our world and the stories that shaped their lives. This time Paganini was present in the audience; he came on to the platform at the end and knelt in homage to Berlioz and kissed his hand. In 1830 the fiery Frenchman, Hector Berlioz, completed his First Symphony, the 'Fantastique'. On the way back to Rome he began work on a piece for narrator, solo voices, chorus and orchestra, Le Retour à la vie (The Return to Life, later renamed Lélio), a sequel to the Symphonie fantastique. Hector Berlioz was born on 11 December 1803 at La Côte-Saint-André in the département of Isère. [43], Shortly after the concert Berlioz set off for Italy: under the terms of the Prix de Rome, winners studied for two years at the Villa Medici, the French Academy in Rome. [163] The orchestra does not play at all in the "Quaerens me" section, and what Cairns calls "the apocalyptic armoury" is reserved for special moments of colour and emphasis: "its purpose is not merely spectacular but architectural, to clarify the musical structure and open up multiple perspectives. He was accused at the time by the musicologist Winton Dean of being excessively partisan, and refusing to admit failings and unevenness in Berlioz's music;[182] more recently he has been credited by the critic Nicholas Temperley with playing a major part in improving the climate of musical opinion towards Berlioz. He suppressed some of his early songs, and his last publication, in 1865, was the 33 Mélodies, collecting into one volume all his songs that he chose to preserve. When the production of another choral work, La Damnation de Faust, became a financial sinkhole after its premiere in 1846, touring again came to the rescue. [21] Berlioz took advantage of them all. [83], Berlioz returned to Paris in mid-1843. [75], At the close of the decade Berlioz achieved official recognition in the form of appointment as deputy librarian of the Conservatoire and as an officer of the Legion of Honour. Macdonald comments that there are few facets of musical practice of the time untouched in Berlioz's feuilletons. [6], Berlioz's major work from the decade was La Damnation de Faust. 277 and 279, Berlioz, p. 104; Cairns (2000), p. 263; and Holoman (1989), pp. Smithson attended the concert; after meeting the woman who had haunted him, Berlioz married her the next year. Cairns, David (2013). He gives as an example the second phrase of the main theme – the idée fixe – of the Symphonie fantastique, "famous for its shock to classical sensibilities", in which the melody implies a dominant at its climax resolved by a tonic, but in which Berlioz anticipates the resolution by putting a tonic under the climactic note. [55] Harriet's health deteriorated, and she took to drinking heavily. The song developed from what the conductor and academic, Barzun, p. 263; and Cairns (1999), p. 769, Bloom (2000), p. xv; and Cairns (2000), p. 101, Holoman (1989), p. 51; and Cairns (2000), pp. As a result, he began to travel to other countries more often. Harriet resented his celebrity and her own eclipse, and as Raby puts it, "possessiveness turned to suspicion and jealousy as Berlioz became involved with the singer Marie Recio". [11] He recalled in his Mémoires that he enjoyed geography, especially books about travel, to which his mind would sometimes wander when he was supposed to be studying Latin; the classics nonetheless made an impression on him, and he was moved to tears by Virgil's account of the tragedy of Dido and Aeneas. The second wife of composer Hector Berlioz. [102], In June 1862 Berlioz's wife died suddenly, aged 48. Biography - A Short WikiFrench composer of the Romantic era best remembered for compositions like Symphonie Fantastique and for his influential Treatise on Instrumentation. Barzun and Evans consider the possibility that Smithson's financial straits may have made her more amenable to Berlioz's approaches; Cairns and Holoman express no opinion on the matter. He left Rome in May 1832 and arrived in Paris in November. The Hector Berlioz Website was created by Monir Tayeb and Michel Austin on 18 July 1997; this page created on 8 March 2007, revised on 9 January 2021. To supplement his earnings he wrote musical journalism throughout much of his career; some of it has been preserved in book form, including his Treatise on Instrumentation (1844), which was influential in the 19th and 20th centuries. [46] By the time he reached Nice on his journey to Paris he thought better of the scheme, abandoned the idea of revenge, and successfully sought permission to return to the Villa Medici. [6] He wrote for L'Europe littéraire (1833), Le Rénovateur (1833–1835), and from 1834 for the Gazette musicale and the Journal des débats. [183], Since Barzun, the leading Berlioz scholars have included David Cairns, D. Kern Holoman, Hugh Macdonald and Julian Rushton. [92] The opera was presented in Leipzig in 1852 in a revised version prepared by Liszt with Berlioz's approval and was moderately successful. [n 21] Cairns regards the work as symphonic, albeit "a bold extension" of the genre, but he notes that other Berliozians including Wilfrid Mellers view it as "a curious, not entirely convincing compromise between symphonic and operatic techniques". The BBC commemorated the centenary of Berlioz’s death with a series of programmes on radio and television over a two week period. The article is evidently based to an important extent on a reading of Berlioz’s own Memoirs; it is mainly biographical in approach and makes no attempt to assess the influence of Shakespeare on Berlioz’s work. [4][6], The first concert of Berlioz's music took place in May 1828, when his friend Nathan Bloc conducted the premieres of the overtures Les Francs-juges and Waverley and other works. His excellence as a witty and perceptive critic may have worked to his disadvantage in another way: he became so well known to the French public in that capacity that his stature as a composer became correspondingly more difficult to establish. Berlioz, after a brief youthful religious spell, was a lifelong agnostic,[168] but he was not hostile to the Roman Catholic church,[169] and Macdonald calls the "serenely contemplative" end of the work "the nearest Berlioz ever came to a devoutly Christian mode of expression". His son Louis was sent to a boarding school in Rouen.[84]. Around this time, he began making a comfortable living off of being a music critic, but he found himself feeling artistically frustrated since he was spending less time working on his own compositions. [184] Holoman was responsible for the publication in 1987 of the first thematic catalogue of Berlioz's works; two years later he published a single-volume biography of the composer. As he foresaw, Paganini found the solo part too reticent – "There's not enough for me to do here; I should be playing all the time"[51] – and the violist at the premiere in November 1834 was Chrétien Urhan. An extensive German tour followed: in 1842 and 1843 he gave concerts in twelve German cities. [117], Rushton suggests that "Berlioz's way is neither architectural nor developmental, but illustrative". [104], Berlioz did not seek a revival of Les Troyens and none took place for nearly 30 years. 127–128, Cairns (1999), p. 559; and Holoman (1989), p. 107, Chabrier, Emmanuel. After arriving back in Paris Hector Berlioz gradually grew weaker and died at his house in the Rue de Calais on 8 March 1869, at the age of 65. He struggled to make money from his concerts in Paris, and learning of the large sums made by promoters from performances of his music in other countries, he resolved to try conducting abroad. His father gave him basic instruction on the flageolet, and he later took flute and guitar lessons with local teachers. His father, Louis Berlioz, a physician, is believed to have introduced acupunctural techniques in Europe. [55], Paganini, known chiefly as a violinist, had acquired a Stradivarius viola, which he wanted to play in public if he could find the right music. [55] Her suspicion about Recio was well founded: the latter became Berlioz's mistress in 1841 and accompanied him on his German tour. Hector Berlioz Requiem (Grande Messe des Morts), for tenor solo, chorus and orchestra ... Death and Nature shall be astonished When all creation rises again To answer to the Judge. [134] The work has always been among Berlioz's most popular. It accepts life as it is. The 1830s saw Berlioz produce more of his inventive compositions, such as the symphony Harold en Italie (1834) and the impressive choral work Requiem, Grande messe des morts (1837). [106] Berlioz's physical health was not good, and he was often in pain from an intestinal complaint, possibly Crohn's disease. This generation experienced much of their youth during the Great Depression and rapid technological innovation such as the radio and the telephone. Here is all you want to know, and more! He selected six poems from Gautier’s La comédie de la mort (The comedy of death)—two of a lighthearted nature, which he positioned first and last, and four in a more melancholy vein. He had lost his only child, Louis, in 1867. Berlioz was the eldest of six children. [139], The "Dramatic Symphony" with chorus, Roméo et Juliette (1839), is still further from the traditional symphonic model. Hector Berlioz - Hector Berlioz - Mature career: Back in Paris, he set about conquering it anew. ", Strauss's phrase "inventor of the modern orchestra" was used by the. He wrote Les Troyens, inspired by Virgil's Aeneid, at this time, but only got to see a few of the opera's acts be performed in 1863. Berlioz assembled an orchestra of 160 players, three soloists and a chorus of 98 singers for the vocal sections. In 1999 the composer and critic Bayan Northcott wrote that the work of Cairns, Rushton, Sir Colin Davis and others retained "the embattled conviction of a cause". [n 7] Nevertheless, he was greatly encouraged by the vociferous approval of his performers, and the applause from musicians in the audience, including his Conservatoire professors, the directors of the Opéra and Opéra-Comique, and the composers Auber and Hérold. In France there was a tradition of open-air performance, dating from the Revolution, calling for larger ensembles than were needed in the concert hall. ''Mahler was neurotic, and haunted by death, but did not have major affective disease.'' [n 19] Some of those who recognise Berlioz's mastery of orchestration nonetheless dislike a few of his more extreme effects. [29], In 1824 Berlioz graduated from medical school,[29] after which he abandoned medicine, to the strong disapproval of his parents. [14], At the age of twelve Berlioz fell in love for the first time. The hall was far from full, and Berlioz lost money. Some was collected and published in book form. His best known works are 'Bolero' and 'Daphnis et Chloé.'. This is a comparatively recent development. The discography of the British Hector Berlioz website lists 96 recordings, from the pioneering version by Gabriel Pierné and the Concerts Colonne in 1928 to those conducted by Beecham, Pierre Monteux, Charles Munch, Herbert von Karajan and Otto Klemperer to more recent versions including those of Boulez, Marc Minkowski, Yannick Nézet-Séguin and François-Xavier Roth. [108] After they ceased to meet, Amélie died, aged only 26. With rare exceptions, such as Beethoven's Ninth, a symphony was taken to be a large‐scale wholly orchestral work, usually in four movements, using sonata form in the first movement and sometimes in others. Rushton's answers to these questions are "nowhere" and "none". Louis-Hector Berlioz was born on December 11, 1803, in La Côte-St-André, Isère, France (near Grenoble). He described it as "a caprice written with the point of a needle". They had a child together known as Louis Berlioz. [42] Franz Liszt was among those attending the concert; this was the beginning of a long friendship. [123] Macdonald writes that Berlioz was a natural melodist, but that his rhythmic sense led him away from regular phrase lengths; he "spoke naturally in a kind of flexible musical prose, with surprise and contour important elements". [193] As more and more Berlioz works became widely available on record, professional musicians and critics, and the musical public, were for the first time able to judge for themselves. [76] The former was an undemanding post, but not highly paid, and Berlioz remained in need of a reliable income to allow him the leisure for composition. Painter and sculptor Edgar Degas was a highly celebrated 19th-century French Impressionist whose work helped shape the fine art landscape for years to come. [198][199] Northcott concluded, "Berlioz still seems so immediate, so controversial, so ever-new". He was teased for what was seen as a boyish crush, but something of his early passion for Estelle endured all his life. [133] Schumann wrote of the work that despite its apparent formlessness, "there is an inherent symmetrical order corresponding to the great dimensions of the work, and this besides the inner connexions of thought",[134] and in the 20th century Constant Lambert wrote, "Formally speaking it is among the finest of 19th-century symphonies".
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