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YƤ1)Word Pro Text File/DFBAl@PPPPP-PPP@Jonathan Darnborough7@K@Y@@@ @ SmartMasterH@ASMH@Jonathan DarnboroughH@AJDXP p@@Jonathan Darnborough@EJDX@@@q pcPP`@@q pcPP` @UNIVERSAL_ALL_OTHERS_EDITOR@FOTRX@@@q pcPP`@@q pcPP` @UNIVERSAL_SMARTMASTER_EDITOR@ESMX@@@q pcPP`@@q pcPP`B@QCB PP p  q@Tp= y qp~ qPHPHPHPH(x qQdIZ+K!A@Bz$Bp= A!@B?Bp= !AK@FFp= APHBPHBgf ( xAQdHHAQdHHq ~APHBgf PHB(AAk qAyZ(3&AItB&A3Bz$Bz* A&PHPH3ACFSHHc ACFSHHe }-?@En;A#@P@P@@@ P@@@P @@@PpP@@@Pp @@@d*plC|@@@"q!@@ @@P@Zc xpp  @@@PppP @@@ f qcP`R@d H@dZ Z Z Z pH@PZ  pH@P pH@P pH@P pH@PZZZZ(( /!("(# ($(%(&('Z)MZ*Z,Z-fZ.cZ/dZ0eZ17Z2Z3Z47Z5Z6#Z7,Z8 #Z9 %Z:Z;Z Z NZ >H@@ ??X@P`@@P`@@Pp@P`@@Hx``@@Hx``PC q@@P@ AM@A yx@Hx@Hx@Hx@Hx` % x@@@Q $ $ %APAy'ABBBBRBBB q %@@@@Q  A]Ayq@AJB]A%AHHPHA ABffbff€BBB7@-@<@Pc@P c@P c@P ABffbff, Aff, ABff4A@Aj A%@p@ ?%]A $Azs>LH- }Ex$ ?}+@ExP:An@P@P@@@ P@@@P @@@ X@@@Pplq@@@@P |C@@@P !"AO@@ @@P@|p@@@P *>$@EH @ Heading 1 #Ox@@@P@& $ p`@x@&  p`@x@>!A*@EH@ Default Text s-ExP:A@P@P@@@ P@@@P @@@ P@@@PpO!A #@@ @@P@7q@P@P@@@ P@@@P @@@PpP@@@ #)nx@@@ @@@PPPP@@@PPP$*A'@@@@P'$A)@@@@D@DP)'A,@@@@P+ ?A3@@@O@O, )xP@P3+A5@@@@` 53A7@@@O@O` 7 5x@@G@GK xPBp= MxAJBN PPPP $AAyPADRraAPPHRBGAPPH HC( |)aAPPHqC,\u PH HCt=H$@P@P P P  DADxQE @QDs%D@@EBodytBPP@EBody@p (gO(ir H@@a FV uAuxpA@P # AyU@@Default FooterXA@BQJA +A P@EFooter %A@@@Default Footer Styleh$@aAAAyA@ @YAfAdAe@ XQ $@c .X +u@pA@A XRA =A +P@EFooterI /A #A %Iyy@ @Y XQ@c /* BA ,yd@Q . $@FStory BA ,Y 0A 0AmU A xpA@P q #yU@@Default HeaderXA@BQJPA #AP@EHeader A@@@Default Header Styleh$@aAAAyA@ @YAfAdAe@ XQ@c +Wq .yu@pA@A XRPA .A #P@EHeaderI ,A A Iyy@ @Y XQ@c ,, /Bqd@Q + $@FStory /BQ -A -Am(Ru? #AyU@@ Default FrameQ A@IQXAAP@DFrameH@@Default Frame Styleh$@@ Default TextIAAAAc@ @YAfAdAe@ A]@qyX@@ Default CellQAA@@@R@0@AAP@CCellH@@Default Table Cell Styleh$@ @ Table TextI3AAAA@7Ay[AyX@@Default ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!`AyX@@Default Left ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!_X@@Default Right ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!mqW@@ Default TableQH@@RB0PAAP @ SuperTableH@@Default Table StyleAy@. 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Form, large-scale harmony and the revisions.@dPBrkA'DPSpcA#CSEnd KPAmFF(A B@ASSEnd/d Ax @mzqk@ Default TextP@@@i@@Default Text Style@@@pE A@x`aAnD}AA"x@@@PP@@@  IPAmFF(A H@ASSEndZHZOZGqA Z -ZI{Ym(e 'Ayd@d@FStoryAYAAm 'Ayd@d@FStoryAYAAm *yd@Q $@StoryYAAmPAm@ASSEnd 'yd@d@Story_m ) ,Bqd@d@FStory ,BWm -PAm ,@ASSEnd 0PAm /@ASSEnd 8'A Hyd@d@FStoryOA HY9A9AmZLZP:ZNZW AxpA@PX AxpA@P\[u^_`abZJZKZQb(SXM(fc(hY(j]  #k0mAo@ Note Initials`P@Y@x`al2 aSm@D@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE)@@ap@PT@@apE)@@ap@PT@@apE)@@apE(@@ap@P T@@apB)SSEndTSm@D@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@P?xE.@@@P?x@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@QpE.@@@Qp@P QSSEnd SmCHHBSSEnd SmCHHBvSSEnd9RSm8@D@@ap@PT@@apF.0@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@a?pE.@@a?p@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@P QSSEnd:1@Engineering NumberingI8@ OX+A"@Outline (Not Indented)P@@@i@"@ Left Justified Outline Numbering@@@pE A@A+@D  O @@@QP 1b@Default Headingsa; '/:qAuo,kA @ Note Date`P@Y@x`al2 .A:@Legal NumberingI@ OX+@Outline (Indented)P@@@i@(@&Traditional Indented Outline Numbering@@@pE A@CfD?" @@@QP ,q@Default OutlineI@ OPZa  ' ; # GoA @ Body Singlep@i@P@@@pE A@Am@D= Xw+@DTitleP@@@i@P@@@pEAm@DdB}q*A # @@@  f\Uw @ Number Listp@i@P@@@pE A@Am@D  ! @@@QP  {U  c '  ZB @GBullet 1p@i@P@@@pE A@Am@D  " @@@RH wOf @ Table Textp@i@P@@@pE A@Am@Db|r}# U[Df @ Heading 3P@ @@i@P@@@pEAm@D B}t> # @@@   A CDc  b ZB( @GBullet 2p@i@P@@@pE A@Am@D  " @@@RH c PD[2U @ Heading 2P@ @@ i@P@@@pEAm@D B}t> # @@@   q C2 c (S2 @First Line Indentp@i@P@@@pE A@Am@D-# c P2[(D @ Heading 1P@ @@ i@P@@@pEAm@D B}t> # @@@        yP  AAA PP  "4A(@AH4P@@@@Y@Am@`Ap=#$ (6"A2@ENormal`@@@Y@Am@`Ax#) *4AA 1P A(@BA-CA-DHB@ @ @ Bruckner'sHH pupil Carl HB@ @ @ GHrubHB@ @ @ DHHD HHrecounted important comments regarding his teacher's formal-harmonic innovations and their relationship to the Viennese tradition. After a performance of Beethoven's HB@ @ @ M HB@ @ @ EroicaHB@ @ @ M HB@ @ @ D,HHz a symphony which Bruckner revered and had studied closely (especially its metrical and orchestral part-writing aspects), HB@ @ @ GHrubHB@ @ @ DHHD HH recalled:HdPIdtA+DPBrkA,DPSpcA#CSEnd--9iy@PPA*A*@.q:@music.40030.P74-/ ;;.0 q1A-@1 0y-@2<(A @ Blockquote`@@@Y@Am@`AD#A3y) 46A*HP A2@CHHoAfter he had spent a while sunk in thought, his gaze as it were turned inwards, he suddenly broke the silence: HHM HHII think, if Beethoven were still alive today, and I went to him, showed hHH(im my Seventh Symphony and said to him, HHM HHDon't you think, HB@ @ @ GHerrHHD HB@ @ @ FvonHH Beethoven, that the Seventh isnHHM HH-t as bad as certain people make it out to be HHM HHD HHBthose people who make an example of it and portray me as an idiot HHM HH@ E HHD HH:then, maybe, Beethoven might take me by the hand and say, HHM HHMy dear Bruckner, donHHM HH|t bother yourself about it. It was no better for me, and the same gentlemen who use me as a stick to beat you with still donHHM HHFt really understand my last quartets, however much they may pretend toHHO  HHD.HdPIdtA5DPBrkA,DPSpcA#CSEnd6a8A4HPA(@CHHAfter HB@ @ @ apologizingHH to Beethoven's shade for HHM HH going beyondHHM HHD HH4him in terms of form, Bruckner asserted that he had HHM HHMalways said that a true artist can work out his own form and then stick to itHHM HH#. These comments not only document HB@ @ @ Bruckner'sHH` assimilation of the formal innovations of late Beethoven, they also reveal that he consciously HHM HH went beyondHHM HHD HHthem. HdPIdtA7DPBrkA,DPSpcA#CSEnd8>A6A =P A(@BA9CA9DHH7After completing harmony and counterpoint studies with HB@ @ @ SimonHHD HB@ @ @ Sechter,HH| Bruckner nevertheless felt that his grounding in practical compositional matters remained incomplete; he had acquired from HB@ @ @ SechterHH? a solid technique, but he turned to the conductor and cellist HB@ @ @ GOttoHHD HB@ @ @ KitzlerHH1 for instruction in form and orchestration. With HB@ @ @ Kitzler,HH the investigation of sonata form began logically with short first groups and proceeded to first groups with bridge sections, lyrical second groups HB@ @ @ E(@B@ @ @ GesangsgruppenHB@ @ @ D)HO and short closing sections. It is noteworthy that Bruckner considered sonata form to comprise essentially two (rather than three) large spatial units, whereby the exposition is one element and the development and recapitulation together form the other. He retained this way of thinking until the end of his career, still referring to the development and recapitulation in the first and last movements of his Ninth Symphony as the second part (HHM HHF2. HB@ @ @ AbtheilungHB@ @ @ M HB@ @ @ E).HHY Bruckner repeated the exposition in the first movement of the String Quartet and in the HHM HHStudyHHM HHD HHSymphony. But, interestingly, as early as the First Symphony (begun in 1865), Bruckner abandoned the repeated exposition and did not employ it again in his later symphonies.HdPIdtA+DPBrkA,DPSpcA#CSEnd-9?A-iy@PPA8A8@:.A@@music.40030.P759; /A:< q=A9@= DA8AQQCP A(@BA?CA?DHHThe ideal of the Classical sonata in practice (in the works of Haydn, Mozart and Beethoven) had been dynamism: the music evolved both tonally and HB@ @ @ motivicallyHHw to create the effect of goal-orientated forward motion. This dynamism was created both by harmonic motion and logical HB@ @ @ motivicHH] transformation. But in the later 19th century, sonata form became increasingly segmented or HB@ @ @ sectionalizedHH into comparatively stable and self-contained thematic-harmonic units. (Perhaps this tendency towards sectionalism combined with sometimes awkward harmonic stasis resulted from the codification of sonata form by theorists in their mid-century @B@ @ @ FormenlehreHH treatises.) In the later versions of his symphonies, Bruckner sought to counteract such stasis by restoring the dynamic continuity that had HB@ @ @ characterizedHO the Classical symphony. His revisions were focussed on improving transitional or linking passages to create greater synthesis and dynamism; more rarely they involved changing the primary thematic materials themselves. Comparing the 1874 and 1878 finales of the Fourth Symphony, HOMfor example, reveals that the main themes in their particular sequence and keys remained fixed, while the intermediary passages were substantially recomposed to increase continuity. The same process underlies the 1890 version of the Eighth Symphony: the main ideas were unchanged, but the transitional passages were tightened or cut.HdPIdtA+DPBrkA,DPSpcA#CSEnd-?EA9iy@PPA>A>@@:AF@music.40030.P76?A ;G@B qCA?@C By?@D[A>A ZP A(@BAECAEDHB@ @ @ Bruckner'sHH imaginative HB@ @ @ unorthodoxyHHb with regard to the key schemes of his sonata form was already apparent in the works composed for HB@ @ @ KitzlerHHP and continued through to the late works. A typical strategy was to present the @B@ @ @ GesangsgruppeHB@ @ @ EinHH3 an unexpected key, which then fails to set up the HHM HH redemptiveHHM HHD HHtonic at the parallel place in the recapitulation. For example, in the Third Symphony, in D minor, the second theme in the exposition of the finale is presented in the unexpected key of FHHAJCHH major (HHARCHHIII/D minor, 1873 score, bars HB@ @ @ 65ff)HH% instead of the conventional F major HB@ @ @ (III/DHH minor). Furthermore, when the @B@ @ @ GesangsgruppeHH~ is restated in the recapitulation, it does not appear in the tonic but rather is transposed to the even more distant key of AHHAUCHH major (HHAXCHHV/D minor, 1873 score, bars HB@ @ @ 537ff).HH In this version of sonata form, where the recapitulation fails to secure the tonic, the form's inability to achieve tonic closure sparks a crisis in the HHM HH redemptiveHHM HHD HO:symphonic narrative: the pilgrimage is endangered and promised redemption threatened. Only in the coda, which remains outside the sonata space proper, can the triumphant tonic be reasserted and, in terms of the narrative, bring about salvation: hence the considerable importance of the coda in a Bruckner symphony.HdPBrkA,DPIdtA+DPSpcA#CSEnd-E\A?iy@PPADAD@F@A]@music.40030.P77EG A^FH qIAE@I HAQAE@J[ARyT@i" A@IQXARA CP@DFrameIOAAMAAyxAN`@RDAKAf A@)OS@QJ @ @GraphicSA8YS @D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp755.tmpQ IATAJ@R[JAUyT@i" A@IQXAUAJP@DFrameISAAMAAyxAN`@RDAKAf AP@)SVAOy@QR @ @GraphicVAOYVAOP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp757.tmpT QAWAR@U[RAXyT@i" A@IQXAXARP@DFrameIVAAMAAyxAN`@RDAKAf A@)VYASy@QU @ @GraphicYASYYASP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp759.tmpW TAZAU@XVUT@i" A@IQXyUP@DFrameIYAAMAAyxAN`@RDAKAf AP@)YqVy@QX @ @GraphicAV VP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp75B.tmpZ WyX@[aADA `P A(@BA\CA\DHHIt is widely believed that Bruckner made large cuts in the later versions of his symphonies to conform to the contemporary Viennese taste for shorter works. Certainly he was sensitive to critics who, like Brahms, had condemned his works as HB@ @ @ M HB@ @ @ symphonischeHHD HB@ @ @ RiesenschlangeHB@ @ @ M HHD HHD(HHM HHgiant symphonic serpentsHHM HO). For example, in an attempt to obtain a performance of the first (1873) version of the Third Symphony, Bruckner even proposed splitting the work between two concerts (letter to the Vienna PO, 8 January 1875). However, it can be strongly argued that his cuts, which decisively affect the large-scale form, the harmony and the symphonic narrative, were made for more fundamental compositional, theoretical and aesthetic reasons.HdPIdtA+DPBrkA,DPSpcA#CSEnd-\bAEiy@PPA[A[@]FAc@music.40030.P78\^ Gd]_ q`A\@` _y\@agA[AQQfP A(@BAbCAbDHHqBruckner employed sonata form, expressively transformed, in the outer movements of all his symphonies except the HB@ @ @ M HB@ @ @ NullteHB@ @ @ M HB@ @ @ D,HHz which has a finale in rondo form. In the final versions of the outer movements of the symphonies and the String Quintet, HB@ @ @ Bruckner'sHH0 larger tonal-narrative strategy was to achieve HHM HH redemptionHHM HHD HHrin the coda of the finale by deferring the full force of the tonic until that point. Reversing the recapitulation HHM HHD HHAas in the finales of the String Quintet and the Seventh Symphony HHM HHD HOcan postpone the definitive return of the tonic associated with the primary theme group until the end of the movement. Similarly, cutting the recapitulation and eliminating the tonic reprise of the first group, or both the first and the second groups (as in the last versions of the finales of the Third and Fourth symphonies), is associated with postponing the definitive arrival on the tonic until the third group, or the coda.HdPIdtA+DPBrkA,DPSpcA#CSEnd-bhA\iy@PPAaAa@c]Ai@music.40030.P79bd ^jce qfAb@f eyb@gmAaA lP A(@BAhCAhDHHAnother aspect of HB@ @ @ Bruckner'sHHD formal innovations that upset the normative sonata paradigm is the HHM HH breakthroughHHM HHD HHtechnique. A striking example is provided by the first movement of the First Symphony. Here the music appears to follow the three-group HB@ @ @ expositionalHH: pattern established by the first movement of the earlier HHM HHStudyHHM HHD HHSymphony: in bars 94HHM HH100 Bruckner interpolated a completely new, unexpected melody in the trombones accompanied by filigree passage-work in the upper winds (evoking the chorale HB@ @ @ Fin@B@ @ @ Tannh@B@ @ @ E@B@ @ @ GuserHH and betraying HB@ @ @ WagnerianHH4 impulses). Playing through the score in 1865, Hans HB@ @ @ FvonHHD HB@ @ @ DBHB@ @ @ DHB@ @ @ FlowHH remarked, HHM HHThis is dramatic!HHM HH, to which Bruckner replied, HB@ @ @ M HB@ @ @ FAh,HH that's just it!HHM HHD HO6The entire passage is ultimately revealed to be completely extraneous to the sonata form since it does not recur in the recapitulation; instead, Bruckner drew upon the breakthrough material for the music of the first section of the development. The concept of the breakthrough is intimately connected with the HB@ @ @ epiphanic-revelatoryHH5 connotations of the chorale. A clear example of the HB@ @ @ interrelatednessHHu of the breakthrough and the chorale is provided by the finale of the Fifth Symphony (1876), where the chorale theme HHM HHbreaks throughHHM HHD HH,at the end of the exposition space (bars 175HHM HH9200), inserting itself into the exposition's third group.HdPIdtA+DPBrkA,DPSpcA#CSEnd-hnAbiy@PPAgAg@icAo@music.40030.P80hj dpik qlAh@l kyh@msAgA rP A(@BAnCAnDHH&With regard to the inner movements of HB@ @ @ Bruckner'sHH symphonies, the slow movements are often the most popular and considered the most accessible (the Adagio of the Seventh Symphony made Bruckner famous). In the two unnumbered symphonies and in HB@ @ @ nos.1HB@ @ @ M HB@ @ @ D7HOE Bruckner placed the slow movement second (at one point, while composing the Second Symphony, he considered putting the Andante after the Scherzo, but rejected this idea); in the Eighth and Ninth, on the other hand, he followed the model of Beethoven's Ninth with the slow movement preceding the finale. The rondo schemes in HB@ @ @ Bruckner'sHH slow movements are considerably more varied than one might expect. In the slow movements of the later symphonies rondo and sonata principles are HB@ @ @ synthesized;HH{ the manner in which Bruckner varied and embellished the returns was strongly influenced by the concept later described by HB@ @ @ SchoenbergHH (as HHM HHdeveloping variationHHM HH9). The Adagio of the Ninth provides a characteristically HB@ @ @ BrucknerianHH variation of six-part rondo form in which the first and second subjects are recapitulated in reverse order. The fundamental compositional idea in this remarkable movement is the gradual HHM HH liquidationHHM HHD HHof the opening theme HHM HHD HH which is HB@ @ @ characterizedHH% by an anguished leap of a minor 9th HHM HHD HHǿas the music attains a state of peace and tranquillity. To comply with this larger strategy, Bruckner reversed the recapitulation of the first and second subjects, postponing the final return of the @HDAHHZ section (at bar 207) and then truncating its recapitulation to eliminate the initial 9th.HdPIdtA+DPBrkA,DPSpcA#CSEnd-ntAhiy@PPAmAm@oiAu@music.40030.P81np jvoq qrAn@r qyn@syAmA QQxP A(@BAtCAtDHHFIf HB@ @ @ Bruckner'sHHp slow movements exhibit great formal variety, his scherzos display less significant variation in design. In the HHM HHStudyHHM HHD HHOSymphony and the First Symphony, Bruckner repeated both parts of the scherzo's HHM HHtwo-section formHHM HH; but from the HB@ @ @ M HB@ @ @ NullteHB@ @ @ M HHD HO onwards he abandoned the repetition. In that symphony he expanded the trio to achieve formal parity with the scherzo. Furthermore, from the Second Symphony onwards, he compensated for abandoning literal repeats in the scherzos and trios by expanding their content. Comparing the colossal, ultimately abandoned 1874 scherzo of the Fourth Symphony with its counterpart in the First Symphony reveals a fourfold increase in the number of bars. In the 1874 scherzo, Bruckner further inflated the scherzo's rounded binary form (@HFABAHH') by subdividing both the @HDAHH and @HDAHH' components into HB@ @ @ small-scale@B@ @ @ FABAHB@ @ @ D'HH forms. Similar ternary expansions occur in the scherzos of the Fifth and Seventh symphonies, and the scherzo of the second version (1878HHM HH80) of the Fourth Symphony.HdPIdtA+DPBrkA,DPSpcA#CSEnd-tzAniy@PPAsAs@uoA{@music.40030.P82tv p|uw qxAt@x wyt@yhAsA ~P A(@BAzCAzDHOThe strategy of delaying the tonic epiphany, which was observed in the cut finales of the Third and Fourth symphonies, also underlies the scherzos of the Fourth (1874 version) and Sixth symphonies. Especially striking is the manner in which the tonic arrival is postponed until the end of both these scherzos; like the finale of the String Quintet, they are structured harmonically as large-scale perfect cadences. The same idea of withholding the definitive tonic arrival underlies the 1888 version of the 1878HHM HHF80 HHM HHhuntingHHM HHD HHGscheHHrzo of the Fourth Symphony. In the first edition, the tonic at the end of the first statement dissolves into a quiet transition (bars 247HHM HH255), which leads into the trio. Then, uniquely in HB@ @ @ Bruckner'sHH5 entire output, the whole scherzo is repeated with a @H fortissimoHHa conclusion, thereby reserving the full force of the triumphant tonic for the end of the scherzo.HdPIdtA+DPBrkA,DPSpcA#CSEnd-zqtiy@PPAyAy@{u@music.40030.P83z| v{} q~Az@~ }yz@AyA a(FFQ&A@CHHDHHD HHADHCHOxford University PressHHADHH 2004H[HHADHCHHow to cite Grove Music OnlineHHADHdPBrkA,DPIdtA+DPSpcA#CSEnd 'A8yd@l@FStoryAYYAAm AmAASSEnd^8 @ ClickHere3Qy@PPAAQ@P @P @@ | @CURL@http://www.oup.comyZ qA@j+2 @ Anchor (A)P@@@@Y@Am@` AA@ "qyd@l@DStoryqYAAm AmAASSEnd^8q @ ClickHere4Qy@PPAAQ@P @P @@y/ @CURL#@!/shared/views/help.html?topic=H09 AA@ y@-qAQ A(FF(A@ATPBrkA,CSEndq>BTBA@  @qaBDBA@ A AA PP   @qsFA@ AAA PP   @qPBA@ qAA PP   @H$@P@P P P DuiEa H@H@@P@@P@@PPpPP`@p@P P t7@ADQGAOALQPQHATANAYAZAVAUAWAXA\A[A^A_A`AaAbAIAJAKAQARASAM@ dAeAfAcAgAhAiAjP@P cpcH dP@QH pcP`cpcPa cpcH pcPaUUH cpcP@QHdP@QTT cpcP@QTT cpcP@QH dP@QUUH cpcP@QHdP@QH cpcPa{H dP@QH xc{H xdP@P@@Times New RomanHWH@ MS Sans Serif H @ WingdingsH @ Arial Black H@Arial h@@ HGH@@p@@_i]AAQrys@@George P. 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