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Lawrence Dillon (1959-    )

Lawrence Dillon, composer Lawrence Dillon has produced an extensive body of work, characterized by a keen sensitivity to color, a mastery of form, and what the Louisville Courier-Journal has called a "compelling, innate soulfulness." Increasingly in demand, Dillon has received commissions in the past year from the Emerson String Quartet, the Ravinia Festival, the Cassatt String Quartet, the Mansfield Symphony, the Boise Philharmonic, the Salt Lake City Symphony, the Daedalus String Quartet, the University of Utah and the Idyllwild Symphony Orchestra. Although he lost 50% of his hearing in a childhood illness, he began composing as soon as he started piano lessons at the age of seven. In 1985, he became the youngest composer to earn a doctorate at The Juilliard School, and was shortly thereafter appointed to the Juilliard faculty. Dillon is now Composer in Residence at the University of North Carolina School of the Arts, where he has served as Music Director of the Contemporary Ensemble, Assistant Dean of Performance, and Interim Dean of the School of Music. Dillon's music, in the words of American Record Guide, is "lovely ...austere...vivid and impressive." He is close to completing his long-term chamber project, the Invisible Cities String Quartet Cycle, a cycle of six quartets focusing on Classical forms. Three disks of his music have come out on the Bridge, Albany and Naxos labels. In addition, Dillon's blog, an infinite number of curves, won the 2005 ASCAP Deems Taylor Internet Award.

COMPOSITIONS                        Lawrence Dillon Links     ~ ~ ~     Works by Genre    ~ ~ ~    Lawrence Dillon on Lawrence Dillon
Reverie Scherzo, trumpet, doublebass and piano (1981)
Six Scenes and a Fantasy, cello and piano (1983)
Facade, flute (or violin) and piano (1983)
Sonata (November), piano (1986)
Dunigan Variations, 4 flutes (1991)
Two Tapestries, 2 violins, 2 violas and 2 cellos (1991)
Bacchus Chaconne, violin and viola (1991)
She Was Leaning, mezzo-soprano, flute, alto flute, clarinet, violin and piano (1992)
Last Lullabye, soprano, clarinet and piano (1992)
Another Mad Scene, soprano and piano (1992)
Ascending Spiral, flute and harp (1993)
Appendage (6 parts), soprano, clarinet, tenor sax, violin, viola, cello and piano (1993)
Orpheus in the Afterworld: Concerto for Flute and Chamber Orchestra (1994)
Andante espressivo, solo violin, horn and string quartet (1995) [arr. from 2nd mvt of Violin Concerto, 1996]
Father, Son, narrator and 4 flutes (1995)
Eternity, piccolo and narrator (1995)
Deliverance, soprano (or baritone) and piano (1995)
Concerto for Violin and Orchestra (1996)
Devotion, flute, violin, viola and cello (1996)
Furies and Muses, bassoon and string quartet (1997)
Spring Passing, flute and marimba (1997)
Dog Songs (4 songs), tenor and piano (1997)
Sonnet: Storebought roses, soprano and string quartet (1997)
Symphony No. 1, orchestra (1998)
Dirges and Dances, violin, cello and piano (1998)
String Quartet No. 1: Jests and Tenderness (1998)
Il sole s’arrende, soprano and piano (1999)
Snegglish Dances, orchestra (2000)
Perilous Carols, saxophone quartet (2000)
Suite Vengeance, cello and piano (2000)
Buffa, opera (2001)
Amadeus ex machina, chamber orchestra (2001)
The memory of light, chorus (2001)
Lessons of my youth, male chorus (2001)
String Quartet No. 2: Flight (2002)
Chicane, piano (2002)
The Dreaming Season, baritone and string quartet (2002)
Wright Flight, 3 narrators and chamber orchestra (2003)
Big Brothers, saxophone, vibraphone and piano (2004)
Motion: Sonata for Flute and Piano (2004) [arr. for violin and piano as "Sonata: Motion", 2008]
Blown Away, wind ensemble/band (2005)
Revenant: Concerto for Horn and Orchestra (2005)
Embarkation, flute, horn and piano (2005)
What Happened, violin, viola, cello and piano (2005)
String Quartet No. 3: Air (2005)
There Sleeps Titania, clarinet, cello and piano (2006)
Child's Play, flute, oboe, clarinet, horn and bassoon (2006)
Fifteen Minutes, violin (2006)
Mister Blister, violin (2006)
Still Point, mezzo-soprano, viola and piano (2007) [text: Simpson]
Exit, narrator, baritone sax, trumpet, cello, doublebass and piano (2007)
Entrance, narrator, flute, alto flute, violin, viola and piano (2007)
The Better Angels of Our Nature, narrator and piano trio (2008)
Brio, triple string quartet (3 separate string quartets) (2008)
Blossom, triple string quartet (3 separate string quartets) (2008)
The Voice, violin and piano (2008)
Sonata: Motion, violin and piano (2008) [violin version of "Motion: Sonata for Flute and Piano", 2004]
The Better Angels of Our Nature, narrator and piano trio (2008) [text: Lincoln]
The Best Season,  mezzo-soprano, tenor and piano (2008) [text: Wu Men]
String Quartet No. 4: The Infinite Sphere (2009)
String Quartet No. 5: Through the Night (2009)
Genealogie, soprano, mezzo-soprano, tenor, actor, flute, clarinet, violin, cello, piano and marimba (or orchestra) (2009)
Figments and Fragments, orchestra (2010)
Cool Night, soprano, mezzo-soprano, alto, tenor and orchestra (2010)
Schumann Trilogy, soprano, mezzo-soprano, alto, tenor, actor and orchestra (2010) [collection of three earlier pieces]
    - Figments and Fragments, orchestra (2010)
    - Cool Night, soprano, mezzo-soprano, alto, tenor and orchestra (2010)
    - Genealogie, soprano, mezzo-soprano, tenor, actor, flute, clarinet, violin, cello, piano and marimba (or orchestra) (2009)
String Quartet No. 6: Fantasies [work in progress]
Shadow on the Sun, wind ensemble (2011)
Sparkling in the Dark, saxophone, bassoon and electronics (2011)
Poke, cello and double bass w/spoken dialog between players (2011?) ["a bagatelle on anti-social media"]
Multiplicity, 6 violins (2011?)


WORKS BY GENRE                       Lawrence Dillon Links    ~ ~ ~    Lawrence Dillon on Lawrence Dillon     ~ top of page ~
Dramatic/Theater
Buffa, opera (2001)
Wright Flight, 3 narrators and chamber orchestra (2003)

Orchestra
Symphony No. 1, orchestra (1998)
Snegglish Dances, orchestra (2000)
Amadeus ex machina, chamber orchestra (2001)
Wright Flight, 3 narrators and chamber orchestra (2003)
Figments and Fragments, orchestra (2010)

Band
Blown Away, wind ensemble/band (2005)
Shadow on the Sun, wind ensemble (2011)

Soloist(s) w/Orchestra
Orpheus in the Afterworld: Concerto for Flute and Chamber Orchestra (1994)
Concerto for Violin and Orchestra (1996)
Revenant: Concerto for Horn and Orchestra (2005)

Choral
The memory of light, chorus (2001)
Lessons of my youth, male chorus (2001)

Chamber
Reverie Scherzo, trumpet, doublebass and piano (1981)
Dunigan Variations, 4 flutes (1991)
Two Tapestries, 2 violins, 2 violas and 2 cellos (1991)
Bacchus Chaconne, violin and viola (1991)
Ascending Spiral, flute and harp (1993)
Andante espressivo, solo violin, horn and string quartet (1995) [arr. from 2nd mvt of Violin Concerto, 1996]
Father, Son, narrator and 4 flutes (1995)
Devotion, flute, violin, viola and cello (1996)
Furies and Muses, bassoon and string quartet (1997)
Spring Passing, flute and marimba (1997)
Dirges and Dances, violin, cello and piano (1998)
String Quartet No. 1: Jests and Tenderness (1998)
Perilous Carols, saxophone quartet (2000)
String Quartet No. 2: Flight (2002)
Big Brothers, saxophone, vibraphone and piano (2004)
Embarkation, flute, horn and piano (2005)
What Happened, violin, viola, cello and piano (2005)
String Quartet No. 3: Air (2005)
There Sleeps Titania, clarinet, cello and piano (2006)
Child's Play, flute, oboe, clarinet, horn and bassoon (2006)
Exit, narrator, baritone sax, trumpet, cello, doublebass and piano (2007)
Entrance, narrator, flute, alto flute, violin, viola and piano (2007)
The Better Angels of Our Nature, narrator and piano trio (2008)
Brio, triple string quartet (3 separate string quartets) (2008)
Blossom, triple string quartet (3 separate string quartets) (2008)
String Quartet No. 4: The Infinite Sphere (2009)
String Quartet No. 5: Through the Night (2009)
Sparkling in the Dark, saxophone, bassoon and electronics (2011)
String Quartet No. 6: Fantasies [in progress?]
Poke, cello and double bass w/spoken dialog between players (2011?) ["a bagatelle on anti-social media"]
Multiplicity, 6 violins (2011?)

The Invisible Cities String Quartet Cycle [inspired by "Invisible Cities" by Italo Calvino]
    - String Quartet No. 1: Jests and Tenderness [premiere by Mendelssohn String Quartet, Oct 2000]
    - String Quartet No. 2: Flight [premiere by Daedalus String Quartet, Nov 2003]
    - String Quartet No. 3: Air [premiere by Four Seasons Chamber Music Festival, Jan 2005]
    - String Quartet No. 4: The Infinite Sphere [premiered by Daedalus String Quartet, Jan 2010]
    - String Quartet No. 5: Through the Night [premiered by Emerson String Quartet, March 2010]
    - String Quartet No. 6: Fantasies [in progress?]

Instrument and Piano
Six Scenes and a Fantasy, cello and piano (1983)
Facade, flute (or violin) and piano (1983)
Suite Vengeance, cello and piano (2000)
Motion: Sonata for Flute and Piano (2004)
    - Sonata: Motion, violin and piano (2008) [violin version of "Motion: Sonata for Flute and Piano", 2004]
The Voice, violin and piano (2008)

Solo Instrument
Eternity, piccolo and narrator (1995)
Fifteen Minutes, violin (2006)
Mister Blister, violin (2006)

Piano
Sonata (November), piano (1986)
Chicane, piano (2002)

Vocal
She Was Leaning, mezzo-soprano, flute, alto flute, clarinet, violin and piano (1992)
Last Lullabye, soprano, clarinet and piano (1992)
Another Mad Scene, soprano and piano (1992)
Appendage (6 parts), soprano, clarinet, tenor sax, violin, viola, cello and piano (1993)
    - Appendage
    - Tes yeux
    - Warm Eyes
    - Appendage
    - Recognition
    - Last Lullabye
Deliverance, soprano (or baritone) and piano (1995)
Dog Songs (4 songs), tenor and piano (1997)
    - Morning Song
    - Dread Song
    - Philosopher's Song
    - Outdoors Song
Sonnet: Storebought roses, soprano and string quartet (1997)
Il sole s’arrende, soprano and piano (1999)
The Dreaming Season, baritone and string quartet (2002)
Singing Silver, mezzo-soprano, narrator, horn, cello and guitar (2006)
Still Point, mezzo-soprano, viola and piano (2007) [text: Simpson]
Exit, narrator, baritone sax, trumpet, cello, doublebass and piano (2007)
Entrance, narrator, flute, alto flute, violin, viola and piano (2007)
The Better Angels of Our Nature, narrator and piano trio (2008) [text: Lincoln]
The Best Season,  mezzo-soprano, tenor and piano (2008) [text: Wu Men]
Genealogie, soprano, mezzo-soprano, tenor, actor, flute, clarinet, violin, cello, piano and marimba (or orchestra) (2009)
Cool Night, soprano, mezzo-soprano, alto, tenor and orchestra (2010)
Schumann Trilogy, soprano, mezzo-soprano, alto, tenor, actor and orchestra (2010) [collection of three earlier pieces]
    - Figments and Fragments, orchestra (2010)
    - Cool Night, soprano, mezzo-soprano, alto, tenor and orchestra (2010)
    - Genealogie, soprano, mezzo-soprano, tenor, actor, flute, clarinet, violin, cello, piano and marimba (or orchestra) (2009)

Electronic
Sparkling in the Dark, saxophone, bassoon and electronics (2011)


LAWRENCE  DILLON  LINKS              Works by Genre    ~ ~ ~    Lawrence Dillon on Lawrence Dillon     ~ top of page ~
Emerson Quartet Performs Lawrence Dillon String Quartet No. 5 (Musical America)
Emerson String Quartet: The Professionals (Rory Williams, All Things Strings
Honor: Emerson Quartet to Premiere Piece (Ken Keuffel, Winston-Salem Journal)
In Performance: Emerson Plays Fifth Quartet By Dillon (Joan Reinthaler, The Washington Post)
The Invisible Cities String Quartet Cycle (composer's website)
Lawrence Dillon (Kyle Gann, Chamber Music Magazine)    ... and continued    here
Lawrence Dillon Interview with Vinny Fuerst @ Pytheas Center
Lawrence Dillon’s Appendage and Other Stories CD Named to Fanfare’s Best of 2010 Want List (Chamber Musician Today)
Quartet Triples Up (Odessa American Online)
Would You Describe Yourself As a Neo-Romantic? Why (not)? (Lawrence Dillon, NewMusicBox)

Composer's website        . . . contact Lawrence Dillon:  here
Lawrence Dillon @ Sequenza21/an infinite number of curves
 . . .  What's New?

Lawrence Dillon @ Wikipedia
Lawrence Dillon @ American Composer Alliance
Lawrence Dillon @ American Music Center
Lawrence Dillon @ aworks
Lawrence Dillon @ Danielle Belen's Blog
Lawrence Dillon @ Facebook
Lawrence Dillon @ Focus EMU Online (Eastern Michigan University)
Lawrence Dillon @ InstantEncore
Lawrence Dillon @ JamesArts    also     here
Lawrence Dillon @ ModernClassical
Lawrence Dillon @ Naxos
Lawrence Dillon @ Salt Lake Symphony
Lawrence Dillon @ Sequenza21/an infinite number of curves
Lawrence Dillon @ University of North Carolina School of the Arts

Publisher
Lawrence Dillon @ Composer website/publisher listings
Lawrence Dillon @ American Composers Editions @ American Composers Alliance

Streaming Audio
Lawrence Dillon @ Composer's website
Lawrence Dillon @ Kalvos & Damian/Noizepunk and Krooner
Lawrence Dillon @ Rhapsody.com

Recordings
Lawrence Dillon @ Composer's website
Lawrence Dillon @ ArkivMusic
Lawrence Dillon @ ClassicsOnline
Lawrence Dillon @ Albany Records:  "Chamber Music"    and    "Appendage and Other Stories"
Lawrence Dillon @ Bridge Records

Video
Lawrence Dillon @ YouTube
Lawrence Dillon @ Google Video
Lawrence Dillon @ KET Music Toolkit

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Lawrence Dillon on Lawrence Dillon: Interview @ Kalvos & Damian (streaming audio)
Lawrence Dillon, composerComposers Speak on the Web at Pytheas
                            ~ click on composer picture to listen ~







. . . and check out more    Composers Speak on the Web    at Pytheas


                                                                                                                                                                                                     ~ top of page ~
Lawrence Dillon - An Interview @ Pytheas with Vinny Fuerst
Lawrence Dillon, composerLawrence Dillon has produced an extensive body of work, characterized by a keen sensitivity to color, a mastery of form, and what the Louisville Courier-Journal has called a "compelling, innate soulfulness." Increasingly in demand, Dillon has received commissions in the past year from the Emerson String Quartet, the Ravinia Festival, the Cassatt String Quartet, the Mansfield Symphony, the Boise Philharmonic, the Salt Lake City Symphony, the Daedalus String Quartet, the University of Utah and the Idyllwild Symphony Orchestra. In 1985, he became the youngest composer to earn a doctorate at The Juilliard School, and was shortly thereafter appointed to the Juilliard faculty. Dillon is now Composer in Residence at the University of North Carolina School of the Arts. This week we are privileged to present an exclusive interview with Lawrence Dillon by the Pytheas Center's director, Vinny Fuerst. He talks about his life as a composer, his current compositions and activities, and his thoughts on contemporary music

Vinny Fuerst: Thank you so much for taking time out of your schedule to answer some questions about your music and your life. This past year has been a very exciting time for you, both creatively and with your music receiving many performances - especially the commission from the Emerson String Quartet for String Quartet No. 5: Through the Night. Can you talk a bit about all that's happening with your life and music?

Lawrence Dillon: It’s true, a lot of things that had been in the works for a long time came to a head this past year, including a number of commissions and several recordings of my music. As creative artists, we plug away at particular ideas for years on end, while making little stabs at getting our work the attention we hope it deserves. It’s gratifying to have a year like this come along once in awhile. If you are looking for a list, 2010 brought releases of my music on Albany (Appendage and Other Stories), Bridge (Insects and Paper Airplanes) and Naxos (Violin Music of Lawrence Dillon), performances by the Cassatt, Daedalus and Emerson String Quartets, the Lincoln Trio, the Idyllwild Symphony, the Utah Philharmonia, the Salt Lake City Symphony, the Boise Philharmonic and a few recitals.

VF: The Emerson commission is the fifth of six string quartets that will make up your The Invisible Cities String Quartet Cycle. How does this work fit into the quartet cycle, and in general, what are the challenges of a commission?

LD: Each of the six compositions in The Invisible Cities String Quartet Cycle focuses on a particular form from the Classical tradition – scherzo, fugue, aria, rondo, variation, fantasy. By narrowing my focus for each piece, I have been able to explore how these forms, or approaches to musical development, relate to current ideas and experiences. The fifth quartet is in four movements, each exploring a different type of variation: Theme and Variations, Chaconne, Passacaglia and Fantasy Variations. They all take the simple Welsh tune, All Through the Night, as their source material. The first movement is a traditional set of variations, the second movement is a set of variations of the tune’s harmonic progression, the third movement is a scherzo based on a repeated fragment of the theme, and the final movement is a set of variations on an extramusical idea: sitting up through the night over a sick child. Commissions don’t pose any special challenges. Vincent Persichetti told me he never accepted a commission unless he had already written the piece. I think it’s dishonest to accept a commission unless you have a fair degree of certainty that you can compose a meaningful work within the commission’s guidelines. So the challenges really should be no different from the challenges one faces with any composition.

VF: What are the special challenges in writing a work for string quartet?

LD: String quartet feels like a very easy medium to me – you have four equal partners covering 5+ octaves. The possibilities are endless. You also have a tradition and expectation of achievement on the highest level – quartets tend to be very generous with rehearsal time, and with thinking through the meaning of what they are doing.  It’s really an ideal situation. The only issue is the intimidation factor of measuring yourself against the many great masterpieces of the genre. But even that is an attraction: it’s very appealing to have your music presented side-by-side with composers from the past that you respect and admire. 

VF: To me, your music appears to derive from and explore the ideas of drama and narrative. Do you think in terms of drama and narrative when building a large musical structure? And if so, do these elements come first, or do they evolve out of your musical material?

LD: That’s an accurate assessment: I do tend to think in terms of drama and narrative, formally speaking, as opposed to architecture. I have a few pieces that don’t operate in that way, but most do. For me, narrative structure, which unfolds over time, relates more closely to musical structure than the structures of spatially-based media. And, to answer the second question, narrative elements almost always evolve out of my musical materials. In other words, rather than setting a plot to music, I usually treat my musical ideas as I would treat characters in a novel: I let them develop and interact with one another in a way that feels natural and also propels the narrative momentum. 

VF: What would you say are the most important influences on your music?

LD: Pretty much every music I’ve ever heard. Some of the highlights: Machaut, Josquin, Lassus, Monteverdi, Bach, Scarlatti (D), Mozart, Beethoven, Schubert, Schumann, Chopin, Wagner, Brahms, Mahler, Debussy, Puccini, Webern, Bartok, Carter, Cage, Britten, Berio, Glass, Sellars, American popular music from roughly 1920s-1960s. Plus everything else I’ve ever heard.  No exaggeration, really: everything I hear influences me one way or another. And I can’t stop there: I’m also influenced by life experiences, literature and the sciences.

VF: Do you have a special musical memory from when you were very young?

LD: I remember a household full of music making. I was the youngest of eight siblings, most of whom took piano lessons, so the sound of the piano was a constant.  Also, we sang all the time: on car trips, in four-part harmony around the piano (we even butchered the Hallelujah Chorus a few times) and spontaneously just about any chance we got. There were tons of LPs and cassettes around and the radio was on a lot, but music was never just a passive activity: it was treated as an active form of communication.

VF: How do you strike a balance between teaching and composing? Is it difficult to find that balance?

LD: I haven’t yet found it to be a conflict. If anything, they feed one another. The more composing I am doing, the better able I am to help my students find answers to their problems. And vice versa: my students help me see the creative process from outside of my head, which is a healthy thing to have regularly foisted on me.

VF: When do you find the time to compose?

LD: Difficult question to answer, because I’m not sure if there is ever a time when I am not composing. In addition to the time spent with pencil and paper or banging away on a piano or laptop, there is the composing I do during any complementary activity: going for a walk, washing the dishes, getting dressed. I very rarely put on background music: instead, I have whatever piece or pieces I’m working on going through my head at all times, while I connect, disconnect and reconnect the dots.

VF: There are numerous CDs of your works. Have these been useful "calling cards" to proliferate more performances of your music?

LD: Of the four disks devoted exclusively to my music, three have come out in the last year, so I don’t yet know if they will have an impact on performances. The one that came out more than a year ago was a chamber disk that Albany produced in 2002, with some amazing performances – that one certainly gave a nice nudge to performers’ awareness of my work.

VF: What are your feelings about hearing one of your pieces performed or recorded by an ensemble you haven't worked with? Do you wish you were involved? Are you able to "let go"?

LD: I love working with performers, sharing interpretive insights, hearing how they get inside of a piece they’ve never played before. Having said that, though, you can’t always be a part of the process. I’ve had both disappointments and lovely surprises in hearing my music played by people I haven’t worked with. The lovely surprises are precious, and they stay with me for a long time. The disappointments aren’t too hard to take. I figure I should be so lucky as to have as many less-than-stellar performances in my lifetime as Beethoven gets every day.

VF: What do you consider your best experience as a composer?

LD: The next piece I write.

VF: How important is it that music be accessible on first hearing? And do you have suggestions about how to listen to new music?

LD: How important is it for people to make a good first impression? If you want social acceptance, it is very important indeed. If that’s not a high priority for you, then be as gnarly as you like.Some of my compositions are more ingratiating than others. I’ve written pieces that take a long time to reveal their inner cores. I’ve also written pieces that get it all out there in a matter of moments. Works of art have their own agendas; you can only go so far enforcing your own expectations. As far as how one should listen to music, that really depends on your personality and your motivation. If you are eager to hear new things, then just listen, and keep listening. Some pieces make more sense after you’ve heard them a couple of times. If you have no interest in new music, then let it be. But please don’t assume those of us who like it are blockheads.

VF: What are you thoughts on the difficulty of integrating new music into the standard repertoire?

LD: This is a very broad question – I’m not sure where to go with it. The standard repertoire for orchestra is one thing, the standard repertoire for solo piccolo is another, the standard repertoire for sackbut ensemble is yet another. Some of these repertoires will accommodate new music more easily than others, and that’s the way it should be. So I guess I don’t see that integrating new music into the standard repertoire is any more difficult than seems necessary.

VF: How do you view contemporary non-pop music and its role in the context of society in general? How would you characterize the new music scene in the US today?

LD: Music is the language society uses to say the things that can’t be put into words. Some of those things are lovely to listen to; some of them are not. They all need to be said. Each listener finds a niche within that realm of cultural expression. For some of us, that niche is what you call contemporary non-pop. I don’t consider that kind of music superior, though, to other kinds – it’s just one critical piece of the whole puzzle. The new music scene in the US is probably as healthy as it’s ever been, which isn’t saying much, and probably as healthy as it will ever be, which says a lot. These are hard times for many people, and artists are no exception.  The advantage artists have, or should have, is their adaptability. 

VF: What are you thoughts regarding the internet's role in the new music landscape of the 21st century?

LD: The internet has changed things drastically, and we’re already deep enough into the changes that it’s becoming difficult to remember how we ever got by without it. Much has been lost and much has been gained.  It’s fair to say that now it’s easier to become well-known, and harder to make money. On another level, the internet and attendant technologies have ratcheted up our seemingly insatiable need to have our gratifications ever more instantly. The impact on artistic expression is undeniable, as attention spans become ever more precious. I don’t see this necessarily as a bad thing, but I do see it as something that will eventually leave me behind, something that will eventually leave all of us behind.

VF: Thank you so much for your time and all your artistic efforts.

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