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Topics - David Pinnegar

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Harpsichords / Lot 1182 Clark Gammon Wellers 16th September sale £10k-£15k
« on: September 10, 2010, 04:00:40 AM »

Ewbank Clark Gammon Wellers' Autumn sale on 16th September includes an 18th century mahogony case bentside spinet by Baker Harris London of 1760. 5 octaves and is on its original stand and music cupboard.

Oh how nice it would be to be able to curate such an instrument . . .

Best wishes

David P

Electronic Organs / Good three manual digital organ for sale in Essex
« on: September 01, 2010, 04:51:44 PM »

Ebay item
didn't sell and it looks like a competant instrument.

I contacted the seller remarking on the 16ft and 4ft Choir and Swell to Great couplers probably making the instrument rather rich in sound and commenting that I could possibly help any purchaser with speakers to make it sound really superb and he later bemoaned the fact that it had not sold. George1231 at  is the email address if anyone is interested.

3 Manual Digital Organ with 20 Channel Speaker System




The Organ was originally a Rodgers 330 American Classic although it was updated to a new Digital system by the Organ company Musicom. After the conversion the original stop list was kept the same although they were updated with new sounds allowing the instrument to produce a higher quality Voices. The Organ is equipped with a fully motorised Drawstop system and Piston Memory allowing you to save your desired specification to each one of the individual Pistons and Toe Studs.  The Organ is fully illuminated and has rolling cover to protect the inner console from dust.




The Organ transmits MIDI messages via MIDI outputs. All the Keyboards, Pedalboard, Stops and Pistons send MIDI Messages. The Organ works very well with Hauptwerk Virtual Pipe Organ Software.



Sound System


The Organ also comes with a 20 channel sound system which consists of 18 Celestion speakers, 2 Bass Speakers, 2 Alesis Reverb units and 5 amplifiers (one for each section of the Organ). Altogether with this system the Organ produces magnificent sound.





32' Contra Violone

16' Principal

16' Subbass

16' Lieblich Gedeckt

16' Violone

8' Octave

8' Flute

8' Violone (SW)

4' Choralbass

Mixture II

16' Bombarde

8' Trumpette (SW)

4' Clarion (SW)


16' Gemshorn

8' Principal

8' Bourdon

4' Octave

4' Spillflote

2 2/3' Twelfth

2' Fifteenth

2' Piccolo

Fourniture III


8' Geigen Diapason

8' Hohlflote

8' Voix Celeste II

8' Flute Celeste II

4' Prestant

4' Flute Harmonique

2' Flautino

Plein Jeu III

16' Contra Fagotto

8' Trompette

4' Clarion



8' Gemshorn

8' Gemshorn Celeste II

8' Gedeckt

4' Principal

4' Nachthorn

2 2/3' Nazard

2' Blockflote

1 3/5' Tierce

1' Sifflote

8' Krummhorn




8' Great to Pedal

4' Great to Pedal

8' Swell to Pedal

4' Swell to Pedal

8' Choir to Pedal

4' Choir to Pedal

16' Swell to Great

8' Swell to Great

4' Swell to Great

4' Great to Great

16' Choir to Great

8' Choir to Great

4' Choir to Great

16' Swell to Choir

8' Swell to Choir

4' Swell to Choir

16' Choir to Choir

4' Choir to Choir

Choir Unison Off

16' Swell to Swell

4' Swell to Swell

Swell Unison Off


Great 4x

Swell 4x

Choir 4x

Pedal 4x (Accessible via Toe studs and Pistons under Choir)

Generals 6x (Accessible via Toe Studs and Pistons under Great)





Illuminated Music Desk

Bench with storage

Rolling wooden Protection Cover

Atheists' Corner / The evil of religious fundamentalists
« on: July 16, 2010, 01:05:42 PM »

Two things happened yesterday which crystallised thoughts which have been in solution for some time.

I went to a funeral and the grand-daughter's boyfriend was very newly born again, possibly a trainee priest. He was unable to accept that Christianity and Islam share the same God. He focussed on the mantra: "There is no way other than through me . . . ." and I explained that this was actually in a way a parable and that "through me" could be interpreted as "the way I show" as in "what I teach". He could not see a way in which this could be perceived through the perspective of his being boxed in by the literal authority of the text that brought him comfort through absolute and unquestioning belief. Whilst Deists might believe that we were created by god in His image and Atheists might believe that we descended through a process of wonderously unique evolution, one wonders whether this trainee priest's God was an invention made in his image for his own comfort. Any challenge to such a safety zone becomes a threat to his own persona as a result, and cannot be contemplated.

When happening to be talking to a lady about the root of the Renaissance being the discovery by the Crusaders moving into Toledo in 1180 and discovering that the Arabs had preserved the Greek myths and that they corresponded with the story of Genesis resulting in aspects of the Authorised Version of the bible, the young man challenged me as to whether I should be discussing such heresies in Church. To many, God is an invention of man in man's image for their own comfort.

I explained that all religions say "Follow me, this is the only way", and therefore are mutually exclusive, this exclusivity being an invention of mankind to promote and retain power in appointed lines of men. This process promotes the religion, and arguably is a route to God, but is not an injunction by God himself. He could not understand that there is only one God and that the God of Islam is the God of Christianity, nor could he understand the concept that the seed of God rests in each one of us, leading to the process of finding God through interior meditation.

He was disturbed by the analogy that he had known the lady who had died by way of her daughters but that there were many there who had known her themselves.

We do not take enough notice of the story of Babel. We know that before Babel humankind was united, afterwards being scattered to all parts of the world and having disparate languages.

These languages create great cause for argument - "Our Father which Art in Heaven" is in French "Notre Pere qui est dans le ciel" - which comes back into English "Our Father who is in the Sky". It's not a surprise therefore that Claude Vohrillon Rael wrote a book entitled "Let's welcome our Fathers from Space".

Having come away from Babel with different slices of cake, we are persuaded that our cake is the whole cake. People then argue as to whether strawberry cake is the true cake rather than chocolate or coffee. Personally I prefer a few nuts to make me chew, or even better, Fruit Cake. But in fact the original cake was Vanilla.

The reality is that Christ gave instructions to do two things
  • :Love thy God with all thy heart.
         Of course this causes argument in literality but at a deeper level, it works, and we ignore the spirit of the injunction at our peril. It depends on our perspective and definition of God. To a Big Bang theorist, to anyone who believes that our universe, planet, life and environment were created in some way by an Invisible, All Powerful and Sentient force (All forces are sentient - Newton's law - all force produces an equal and opposite force - so all forces know the nature of opposing forces), then this injunction to love our God translates into loving our environment. To an Atheist who appreciates the uniqueness of our evolution, in effect, the processes or forces of evolution are their god, and we end up simply arguing about the same thing from different sides of the mirror. To love thy God therefore is translated into loving all that surrounds us and in particular all that has arisen out of the process of natural forces.
  • (2) Love thy neighbour as thyself - this equates to the human form of the relationship between masses, which without Gravitation, would otherwise fall apart.
Christ was teaching the fundamental laws of the universe.

God teaches Unity. Man teaches Division - Divide and Rule.

The curse of Babel was to put obstacles in our way to getting too close to Heaven and finding God. Divide them and make them argue was the curse.

So in the interpretation of texts, if we see any reason for division or discord in texts, we should bear in mind that if we see a textual cause to lean to division or discord, either our texts conveyed through the eyes of men and translated through the tongues of men carry the underlying curse of Babel or our interpretation is wrong. The divisions are simply a structure to keep lines of authority in men in power.

Alice Bailey went as a missionary to India. She came to realise that there is no fundamental conflict between Christianity and Buddhism, Buddhism giving us the injunction to exclude "Deceit, Desire and Hate" from one's heart in order to achieve Nirvana, Heaven, Enlightenment. This accords so much with the Christian view of sins which prevent our entry to Heaven.

Many people see the needless arguments between the Factions of God as reason not to believe in God. God tests us as to whether we pay lip-service to the words that come out of mens' lips or whether we obey God's laws of universal harmony in our actions.

So when we read yesterday that Anglicans have allowed women to be Bishops in the Church ministering unto humankind and then we read that the Pope's Church has equated the ordination of Women as being as sinful as Child Abuse, we have to observe an organisation self promoted by men rather than anything to do with God.

Ice Cream is wonderful. Flavour is a luxury and a matter of personal choice. Flavour is wonderful for enabling people to develop a liking for Ice Cream. But Flavour itself is not Ice Cream. And Flavour cannot exist alone without the substrate of Ice Cream to carry it.

Perhaps saying that Fundamentalism is evil is a little strong - Fundamentalists carry the seeds of the teachings of God - but in ignoring the convolution of texts with the parable of Babel, they simply miss the point, simply going into orbit in constant danger of collision with other satellites.

The closing organ voluntary to this lady's funeral was Wachet Auf.

Sleepers, Wake!

Best wishes

David P


For some time I have been considering brain function.

The brain operates upon multidirectional switches called neurons which can fire (turn on) in any of some thousands of directions to connect up with any of the thousands of neighbouring neurons. I believe there are two essential rules:
1. Neurons have a preference to firing in the same directions as they have fired before. (This means that drugs which cause neurons to fire in new and odd ways can do permanent damage)
2. There is a feedback mechanism which registers pleasure/displeasure success/failure

From when we are babies, the brain is blank but by successive experiences of pleasure and displeasure learn good and bad behaviours, habits and knowledge, patterns are built up, the neurons firing in directions that result in pleasurable and successful brain activity transformed into physical actions.

It's therefore essential academically for the brain neurons to be fired up in the most diverse and complex ways to programme flexibility into the brain by the time at which the rate of neurons dying exceeds the rate of creation of new cells in the late teens and early twenties.

From the baby, the pathways of communication through the brain grow as if exploring the rooms within the house, the garden, the local street, the local village, the road to the local town, the route to the Town Hall and the shops and then the motorway to the next city and airports to international places.

These fast express routes become ever more used and trodden pathways within the brain so that when we are used to doing something we can almost do it in our sleep without having to think about it (apply the feedback checking mechanisms along the way). When we lose our memory and go senile, our motorways are so broad and the concrete walls at the side so strong that we find it difficult to find the exits to the motorway, and we know that the routes we need are down below those bridges, under the flyovers that we can't seem to reach anymore.

When we die, our brains shut down. Our knowledge is gone. For some in senility that happens before we die. When we see someone whose brain is not functioning as it was before, are they the same person? What is the person? Where is the soul? Does the soul, does the good person enure beyond the realms of the brain having ceased function? When the brain does not function can we experience the soul?

It's easy to see the brain as a biological computer in the mere mechanics of life. Yet is there something more? Perhaps thought is not limited merely to the brain - there are documented cases of people having been given heart transplants for instance from a musician and then, not having been interested in music before, take an interest and liking to music. In areas of telepathy we see something more, unless our thoughts can simply mechanically interact with matter and other brains. Is prayer a form of telepathy or merely brain training to envisioning something happening so that the neurons are opened up towards that result and open their paths towards it? In the phenonomae of ghosts or provable reincarnation when people recall demonstrable detail of past lives do we experience something more than the biological computer theory of the brain allows?

Best wishes

David P

Atheists' Corner / Organists who think they are atheists
« on: July 04, 2010, 12:03:04 PM »

I'm coming to find a lot of organists who proclaim themselves atheists. But the funny thing is that a good paid up member of the atheist party is often as good a member of any church as any who proclaim belief in God, in just the same way that Marxism and Nazism meet. Of course this is not comparing beleif in God or anti-belief to either of those man-made systems . . .

But the point is that atheists believing in the uniqueness of the wonder of evolution which has produced us often feel bound by a moral code representing respect for that uniqueness of chance which has resulted in us. Whether created by evolution from nature, or from God, the result is the same. Is God Nature?

Best wishes

David P


It looks as though two people will be bringing Hauptwerk to the EOCS meeting on 3rd July in Sussex - one with a theatre organ emulation and another a chamber organ. This should put speakers through their paces. 2pm.

Please can you let Don Bray, Southern Region Chairman, know if you would like to come - contact details on

I'm half a mind to put just a single stereo pair on the roof of the Porte Cochere if it's a fine day and see if, whilst playing Hauptwerk we can achieve any illusion of realism with a feel of an organ above our heads. Of course in mid air, bass will be lacking but it will be an interesting pointer for 8ft and above. Or we could do it on the South Front where the walls of the house will reinforce the sound slightly. However, both of these possibilities will be a little time consuming to set up, so any volunteers will be welcome and it's a long time since I have laid hands on the 2.5mm speaker cables I used to use for such setups. The speakers will not be the Mackies favoured by some manufacturers.

I'll also demonstrate a speaker that I'm working on for Tuba stops.

Other areas of interest are a foot blown pipe organ tuned to Meantone, and pianos tuned to unequal temperament which demonstrate the paucity of standard piano tuning.

We might also plug a Hauptwerk machine into a pair of cheap speakers that I use for a couple of channels on "the beast" and, again, see if we have the illusion of a pipe organ on the balcony upstairs. A couple of channels could then feed a couple of esoteric units adjacent and having the opportunity to try various options will be an interesting experiment.

Of course, if anyone wants to grasp the nettle of playing "the beast", it will be available, but it's much more complicated to get to know than a Hauptwerk emulation of a conventional instrument. If anyone is interested in theatre organs, Percy Vickery's analogue instrument will also be available.

Best wishes

David P

Organ building and maintenance / "Synthetic Solo Organ"
« on: June 16, 2010, 05:09:29 PM »

I have just picked up a booklet on the organ at St Swithun's, East Grinstead. This is a remarkably good instrument which works very well for a major parish church made by Morgan and Smith in 1937.

Harmonics are very much in fashion, with a whole division of them crowning a new instrument currently receiving a lot of attention on this forum and others . . . but the period of the 1930s is interesting. Harmonics, with the Cornet, are not new to organ building and were the organ builders' way of getting around the Papal edict that double reeds were the work of the devil, thus prohibiting imitations of the Hautbois. But in the 1930s fourier synthesis had come to the fore with the Hammond organ, based on addition together of pseudo-harmonics to create tone colour.

Wurlitzer would often make synthetic stops from ranks of pipes then and at East Grinstead, the synthetic Solo division did the same:

Clarinet: Flauto Traverso, Nazard and Tierce
Orchestral Oboe: Viole d'Orchestre, Dulciana, Nazard and Tierce
Cor Anglais: Viole d'Orchestre, Wald Flute, Nazard and Tierce
Vox Humana: Dulciana, Vox Angelica, Nazard and Tierce

I have not had the opportunity to try these - has anyone come across examples elsewhere?

Best wishes

David P


This thread started on account of a mistake . . . I thought we were to host a Bach organ recital and then it became a piano BeethovenFest.

On 1st July 2010 7.45 Eton Music Scholar Jeremy Cheng is performing at Hammerwood Park. Please telephone 01342 850594 to reserve your ticket (£10 members, £12 non members).

Starting the piano at just 4 and taking up strings a few years later, Jeremy is now taking his FTCL exam at the age of 16.

Jeremy says:

The programme will include Beethoven's Sonata in B-flat major "Hammerklavier" and Debussy's "Feux d'artifice". I will also be playing these in my FTCL exam in late July.

I enjoy playing the Hammerklavier very much, as it is the first piece I have tackled of such a scale. Its 4 (or 5, if you count the Largo) movements are all very contrasting, yet they somehow complement each other. It is an incredible and extremely challenging piece, musically and technically, which requires great stamina to play. At approximately 43 minutes, this is by far Beethoven's longest sonata.

Feux D'artifice is the last of Debussy's second book of Preludes. I've always liked the impressionists, since their works tend to be very "fun" to play. Feux D'artifice is no exception: the occasional outbursts of the explosion of the fireworks and the gentle rumbling of their echo are very exciting for the pianist.

This concert will be particularly exciting as Beethoven's music was received in a wholly different way before modern standard instruments put a blanket of uniformity over everything.
The various kinds of meantone and well-temperament help explain why, in the 18th into 19th centuries, keys had particular emotional associations. Key descriptions of the time sound outlandish, and indeed some were on the loony side, but they were founded on the reality that in unequal temperaments each key had its distinctive color and personality. "Is something gay, brilliant, or martial needed?" wrote one theorist. "Take C, D, E [majors]." Another: "D major … the key of triumph, of Hallelujahs, of war-cries, of victory-rejoicing." All those keys were relatively well in tune on the keyboard. Minor keys were innately less in tune, so darker in sound and import: G minor, for example, is "suited to frenzy, despair, agitation. ... The lament of a noble matron who no longer has her youthful beauty." You want a pretty pastoral piece? You want a relaxing key like F major—the key of Beethoven's Pastoral Symphony:

Two of Beethoven's favorite keys tell us a lot about him. The most famous is C minor, described by one writer of the time as "a tragic key … fit to express grand misadventures, deaths of heroes, and grand but mournful, ominous, and lugubrious actions."

On the other hand, in the prevailing unequal temperaments there was still the presence, or at least the ghost, of the old wolf. Thus, croaked one theorist concerning that key, "Death, grave, putrefaction, judgment, eternity lie in its radius." Beethoven studied the theorists carefully, then did what he wanted. As for the putrefaction of A flat major: baloney. For Beethoven, that key, with its complex and distinctive coloration, suggested feelings in the direction of nobility, devotion, and resignation, as in the second movement of the Pathètique
For the last century, the topic of temperament has been relegated to the "tall weeds" in the field of musical discussion. However, recent research1 now strongly indicates that modern tuning is quite different from that used in Beethoven's time. As a consequence, a Beethoven piano sonata played in Equal Temperament is fundamentally different from the same music played in a temperament of his period, regardless of whether the instrument used is a fortepiano or a modern concert grand piano.

Taking the key characteristics listed under
1st movement - B flat and G
The pure major thirds should ring out beautifully clear
Bb Major
Cheerful love, clear conscience, hope aspiration for a better world.
G Major
Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key.

3rd Movement
F# Minor
A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language.

4th movement
D Minor
Melancholy womanliness, the spleen and humours brood.
B Major
Strongly coloured, announcing wild passions, composed from the most glaring colours. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere.
A Major
This key includes declarations of innocent love, satisfaction with one's state of affairs; hope of seeing one's beloved again when parting; youthful cheerfulness and trust in God.
back to certainties of B flat major

I think that hearing this well played on the piano tuned so that we can hear these moods will be really moving and you'll probably be the first in 150 years to have heard the sonata on an instrument on which you can hear them.

Here's a leading concert pianist explaining more about it:

Best wishes

David P

The much-loved Wurlitzer from the former Glasgow Odeon Cinema, owned by a Scottish Cinema Organ Trust member, may have to be broken up and sold off for spares. Members have been in touch with Glasgow City Council and suggested a range of homes for it, including the new Museum of  Transport, Kelvingrove Art Gallery and the city's Burrell Collection gallery, but the council isn't  interested. "It would be tragic if it has to be broken up, and if any Old Glory reader could help us find a home for it, we would appreciate it."  Readers who think they may be able to help find a home for the Glasgow Odeon organ should contact lan Macnaught, tel. 0141 632 5811 or email

Miscellaneous & Suggestions / Very amusing YouTube video
« on: May 27, 2010, 11:11:20 PM »
Hi! starts off rather naffly but twists amusingly.

Meanwhile although vandalism  has clearly taken place, at least scores on originality.

Best wishes

David P


Mark Shepherd is performing again at Hammerwood. Friday 18th June 7.45pm.

PLEASE telephone 01342 850594 to let us know that you are coming. It's great not to have a last minute panic on the number of seats. . .

He describes the programme:
"Walton's Orb and Sceptre (arr McKie/Shepherd)  - because it's fun,
Bach An die wasserflussen Babylon, double pedal one, - because it's sublimely beautiful;
Bach Christ unser Herr zum Jordan Kamm, - because it manages to be both profound and lively;
the sicilienne from the Suite of Duruflé - because every meal needs a sorbet, and the
Carillon Sortie of Mulet - because I should have learnt it 25 years ago but need to now "

As you can tell, Mark is great fun.
As a performer also he impresses me not only for his technique  but because he performs relaxed, taking it all in his stride and being very human
and making it all seem so easy.

These videos were made before I discovered how to replace the camera sound with a proper CD quality recording. In real life the organ sounds much better than these videos . . . but the delight of the instrument is firstly versatility in being able to represent any of the repertoire of the King of Instruments to concert audiences and secondly in groundbreaking presentation of music experimenting with temperament and registration, breaking away from often accepted norms which can be responsible for public perception of the organ and of classical music as "boring".

Best wishes

David P

Organ concerts / Hugh Potton at Boxgrove Priory on 3rd and 5th June
« on: May 16, 2010, 08:41:32 PM »
Boxgrove Priory Festival.

Full details on

He's performing in two concerts, the first being a chamber music evening on Thursday 3/6/10 with members of the Chilingirian String Quartet, the second a piano concerto double bill with the Boxgrove Festival Orchestra, featuring the Beethoven 'Emperor' and Rachmaninov's third Piano Concerto.

Best wishes

David P


Friday, 21st May 2010 at 7.30pm

GUILMANT: March on a theme of Handel, Op.15
FESTING: Largo, Aria & VAriations (arr. Thalben-Ball)
LISZT: Symphonic Poem 'Orpheus' (arr. Guillou)
PAINE: Concert Variations on the Austrian Hymn, Op.3
BOSSI: Toccata di Concerto, Op.118 No.5

DUPRE: Scherzo
VIERNE: Naiades, Op.55 No.4
WIDOR: Andante Cantabile (Symphonie Op.13 No.4 in F minor)
GARDONYI: Grand-Choeur
WAGNER: Pilgrims Chorus (arr. Liszt)
GRISON: Toccata


Tickets £15 (Friends of the Welte Organ £7.50)  from 01892 507609 or

One of the leading international virtuoso organists of his generation, D’Arcy has been described as “The Nureyev of organists”; his extraordinary pedal technique is famous. He will perform a typically varied, colourful and thrilling programme – including some works specifically to show off the remarkable Welte organ. 

The unique Welte organ, built in 1914 and recently restored to its full playing glory is housed in the splendid oak-panelled Victorian Science Theatre – an important and fascinating historic venue. 

The setting of this magnificent 36 acre estate is breathtaking; so arrive early to enjoy the views of the rolling parkland and lakes and take refreshments on the terrace. 

Why not book in for pre-concert supper?

Broomhill Road
Tunbridge Wells
Kent TN3 0TG

Best wishes

David P


A friend on this forum rang me up the other day asking about how our Godson had fared at a Special Educational Needs and Disability Tribunal with regard to his former school on the south coast of England which blazens the labels of Christianity from its rooftops. When he was diagnosed with epilepsy, the school made life difficult for him and another school found a place for him at a very difficult time.

At the Disability Tribunal Barrister and Labour Party Parliamentary Candidate John McKendrick argued to the last that our Godson's epilepsy was not a disability. Our Godson had on one occasion fallen off his bicycle only to regain consciousness to find that a passing motorist had stopped to see whether he was OK.

The Tribunal found for our Godson that the school had discriminated against him.

It's so sad that a so called Christian School and its legal advisors and representatives don't heed the Christian texts including Mark chapter 9 in which the symptoms of epilepsy are clearly  documented as a disability.

Just because a so called Christian organisation doesn't abide by the practices and teachings of the religion it is said to follow does not rubbish the religion nor be sufficient cause for atheists to excuse themselves from investigation of its teachings . . .

Best wishes

David P

Electronic Organs / Ahlborn 202 unit for sale on eBay
« on: April 16, 2010, 03:25:00 PM »

If anyone sees Ahlborn units for sale on,,, etc it would be so helpful if they could put a link here as the ebay sites have concrete walls between them at times . . . is a 202 unit. Good 16ft and 32ft reeds on pedal, a good 8ft Diapason, a Quintadena 8 which introduces the 12th for a chorus, a useful Tierce and Larigot, useful Bourdon, an excellent Corno di Bassetto which through the right speaker sounds as a very effective Cromorne, mixture, Chimes - effective and fun if judiciously used
a useful Trompette (possibly a bit thin) and Tuba Mirabilis, both of which need the right speakers and, particularly interestingly a Septieme which gives good bite to things . . .

This was the specific unit that I chose first for the fourth manual of my organ enlargement, specifically for the quality of the Diapason, but used now particularly for the Cromorne and Tierce.

These units were intended also to extend pipe organs and have facilities for a temperature compensation module to be installed to keep it in tune.

Best wishes

David P

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