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apparent and towards the end, there's usually a phase of paring down/tightening up the piece... It's very unusual for a piece to reach its final shape in a single draft." He reiterated this in a 2009 interview, saying "It's really difficult starting a new piece. It feels a bit like being blindfolded and put in an unfamiliar room and feeling your way around. I’ve got absolutely no tricks or techniques which always work. An analogy would be an animal following a scent. You are trying to find something to hang on to; something that will pull you in a certain direction, and then the whole thing gathers momentum. So it's quite agonising and slow at the beginning and then it accelerates."
401:
Sometimes my music draws on my own experiences - often physical things such as the feeling of touching down in an aeroplane, or having a high temperature and being delirious. But it could also be politics, visual art, poetry, photography, or even the weather. Ideally, there's a spontaneous coming together of musical and poetic ideas (and possibly a compositional technique) so that it's not forced; one thing invites the other."
305:; Causton explained that he 'had a growing sense that at this precise moment it is perverse to be writing a piece about a child born in poverty, away from home and forced to flee with his parents, without in any way paying reference to the appalling refugee crisis that is unfolding. I phoned my friend, the poet George Szirtes to ask if he might be prepared to write me a poem which could encompass some of these ideas.'
397:
problems rather than things I'd use again and again. I certainly have favourite types of harmony and habits of voice-leading, part-writing, and instrumentation, but that's not really the same thing...it's usually more intuitive and I work hard trying to 'feel my way' into a piece - and often towards the end find myself paring material away so that what remains feels quite tightly written."
226:, the Park Lane Group evenings, and the York Early Music Festival (the latter in association with the Accessible Arts Club as part of a theatrical project with disabled people). In December 2010, it was announced that Causton had been selected as one of twenty composers to participate in the New Music 20x12 project as part of the
396:
Causton has, however, referred to certain recurring compositional techniques that he uses: "There are sometimes specific techniques - such as accelerations/tempo relationships that I work out mathematically or little pieces using only 6 of the 12 semitones - but they tend to be solutions to localised
388:
In a 2006 interview, Causton revealed "I started composing quite early on - at the age of 8 or 9. I was already having flute lessons by then and I couldn't get over the fact that having learnt how to play the notes, you could put them together in any way you wanted to - not just play tunes written by
289:
as particular musical inspirations. He has also commented "as far as musicians and other composers are concerned, I find the music of the post-war period, the 1950s and 1960s, really exciting because it seems as if the rate of change in music was incredible. New techniques were being invented all the
400:
Regarding his inspirations for individual compositions, Causton has said "I suppose in one sense they come from whatever I feel I need to do in a particular piece - currently, for example, I'm really letting my hair down and doing some things that not long ago I would have considered in bad taste.
240:
Although the majority of his compositions are written for standard orchestral instruments and ensembles, some of
Causton's material has featured unusual instrumentation not commonly used in Western classical music (such as gamelan ensembles or homemade instruments). He has also experimented with
392:
Regarding his own approach to composition, Causton has remarked (in 2004) that "for me composition feels like a process of getting to know the new piece as I write it - a bit like feeling my way around a room with my eyes shut. As work progresses, the features of the piece become more and more
840:
recorded on
Delphian DCD34075 (Choir of Gonville & Caius College, Cambridge/Geoffrey Webber), Regent REGCD413 (Choir of Guildford Cathedral/Katherine Dienes-Williams), Regent REGCD464 (Choir of Selwyn College, Cambridge/Sarah MacDonald) and Orchid Classics ORC100062 (Vocal Group Concert
155:, which drew significant attention when premiered at the London Sinfonietta's 1995 'State of the Nation' Festival. He has been hailed as "a beguilingly gifted young composer" creating "moments of exquisite timbral sensitivity" (Robin Holloway in
348:
Causton has been the recipient of a growing list of awards. During his time at the Royal
College of Music, he won two composition prizes - the Kit and Constant Lambert Prize and the Herbert Howells Prize. His 1993 solo piano work
249:
featured two instrumental groups separated as far as possible (a strategy which anecdotally once broke up a
Sinfonia 21 rehearsal when a "burly, tattooed Fire Officer" took exception to one of the groups blocking a fire exit).
670:) performed by 21 pianists on 21 upright pianos, commissioned by The City of London Festival and the Polish Cultural Institute, London, premiered at the Guildhall Yard, London, on 21 June 2010 (incorporated with
290:
time, electronic music was just appearing and there were huge advances in all kinds of technical ways. I think it was a hotspot in musical history and perhaps things have slowed down a bit now."
534:(for violin and treated piano) - composed for Darragh Morgan (violin) and Mary Dullea (piano) - premiered 2003 (winner: 2004 British Composer Awards - Best Instrumental Work category)
708:- orchestral piece commissioned by the European Union Youth Orchestra. Premiered under the direction of Giananadrea Noseda at the Amsterdam Concertgebouw, 20 August 2012
72:
between 1990 and 1993. Having graduated with first-class honours, he took an M.A in composition the following year. He also undertook a
Foundation Scholarship at the
89:
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161:), "nothing if not distinctive in his approach to composition" (www.classicalsource.com) and as "one of the finest of the new generation of British composers" (
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175:) has described him as being one of "the most original of his generation" and of possessing "exceptionally high standards of invention and imagination."
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133:(Society for the Promotion of New Music) composers shortlist. He occasionally writes feature articles on contemporary music for
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973:"Classical Music :: The Classical Source :: Philharmonia Orchestra Music of Today :: Classical Music"
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won in the Best
Instrumental Work category at the 2004 British Composer Awards. Most recently, Causton won the 2006
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92:. He has subsequently gone on to forge a consistent and productive career as a freelance composer and arranger.
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540:(for orchestra and tape/sampler), premiered by the CBSO under Mike Seal at Symphony Hall, Birmingham, 2004
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In 2015, Causton was commissioned to compose a new carol to be premièred at the King's
College service of
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compositions utilising unusually placed sound sources - his radical 2001 arrangement of the
Sanctus from
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Programme. He is also a founding member of
Ensemble Corrente and has been a panel judge for the
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546:(for solo voice - settings of poetry from the Late T'ang) - premiered by Jessica Summers, 2005
433:) - premiered by Stephen Wolff at the Sir Jack Lyons Concert Hall, York, 27 May 1993 (winner:
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364:. His second award of 1995 was from the 3rd International ‘Nuove Sincronie’ Competition for
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1055:"VIVIER, ABRAHAMSEN, MACHAUT/Causton: Sinfonia 21/Brabbins, Eileen Hulse London, 26-1-01"
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at the South Bank Centre, 1995 (winner: 3rd
International ‘Nuove Sincronie’ Competition)
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558:(for three-part upper voice choir) - premiered by the New London Children's Choir, 2006
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726:- for SATB choir, premiered by King's College Choir/Stephen Cleobury as part of the
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552:(for choir and three soloists) - premiered by Caius College Choir, Cambridge, 2006
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500:(for piano) - premiered by Karl Lutchmayer at The Warehouse, London, 15 June 2001
484:(for septet ensemble) - premiered by the Nash Ensemble at the Purcell Rooms, 2000
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478:(for large orchestra) - premiered by BBC Symphony Orchestra, 1999 (revised 2001)
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Causton began his formal composition training in India under the direction of
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for two clarinets - premiered 1995 (winner: Fast Forward composition award)
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Causton's compositions are widely played and have been performed by the
115:. He is currently Professor in Composition at Cambridge and a Fellow of
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630:(for soprano, mezzo-soprano & percussion - setting of a poem by
23:
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829:
NMC Songbook: Songs commissioned for the 20th Anniversary of NMC
1030:"Philharmonia/Brabbins, Ashkenazy, Royal Festival Hall, London"
1403:, 28 May 2004 (dealing with the music of Jeremy Dale Roberts)
1373:, discussing his work and a recent commission for BCMG (2009)
54:
50:
1361:, Contemporary Composers section, Paul Driver, Sunday Times)
817:, London Sinfonietta label, SINF CD1-2008 (2008) - features
714:- solo cello, premiered by Anssi Karttunen, 8 November 2014
434:
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Award for Chamber-Scale Composition for his ensemble piece
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773:(Mary Bevan, soprano/Continuum Ensemble/Philip Headlam),
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enabled him to study electro-acoustic composition at the
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Richard Causton's notes on a programme of his own music
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Schools. His early musical education took place at the
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and its inspirations from gamelan music and astronomy)
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Richard Causton profile at Oxford University Press USA
720:- solo piano, premiered by Tim Horton, 18 January 2015
218:. In the United Kingdom, his work has featured at the
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and Owen Gunnell at Kings Place, London, 1 April 2009
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383:
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Interview with Richard Causton at Composition:Today
111:, and was Fellow Commoner in the Creative Arts at
64:, before studying for a bachelor's degree at the
1421:
680:- five-minute chamber orchestral piece based on
590:(for solo flute) - premiered by Sebastian Bell (
95:As well as composing, Causton has taught at the
1510:Academics of the Royal Birmingham Conservatoire
419:(for soprano and ensemble), 1992 (revised 1994)
147:Causton is best known for his work in acoustic
490:(for solo male voice - setting of the poem by
313:Causton is a former holder of the prestigious
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413:(for soprano, piano and two clarinets), 1991
368:. His impressionistic violin-and-piano duet
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610:(for 2 gamelan instruments) - premiered at
584:Award - Chamber-Scale Composition category)
1470:People educated at Quintin Kynaston School
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576:(for quintet ensemble) - premiered by the
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233:. Causton will compose a new work for the
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34:Born in London, Richard Causton attended
1391:Concerto for Solo Percussion and Gamelan
1003:"2012 Cultural Olympiad composers named"
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785:(Continuum Ensemble/Philip Headlam) and
504:Concerto for Solo Percussion and Gamelan
1475:People educated at William Ellis School
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652:- large ensemble piece commissioned by
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1119:"News | King's College Cambridge"
674:public artwork program by Luke Jerram)
620:(for chamber ensemble) - premiered by
458:(for chamber ensemble) - premiered by
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696:Orchestra of the Age of Enlightenment
1465:Fellows of King's College, Cambridge
1455:Alumni of the Royal College of Music
1089:"Richard Causton Interview Jan 2009"
859:Causton, R. J. (13 September 2013).
662:- piano ensemble piece (inspired by
642:; concert premiere by Claire Booth,
1505:21st-century British male musicians
1500:20th-century British male musicians
1371:BCMG interview with Richard Causton
971:Whitehouse, Richard (25 May 2011).
728:Festival of Nine Lessons and Carols
654:Birmingham Contemporary Music Group
622:Birmingham Contemporary Music Group
520:(arrangement of two movements from
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171:(former Head of Composition at the
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151:. He first came to attention with
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1521:
1389:, 29 June 2001 (dealing with his
1331:
1028:Service, Tom (12 November 2002).
917:Causton, Richard (29 June 2001).
425:(for solo piano - variations on "
384:Comments on compositional process
1485:English male classical composers
1460:Alumni of the University of York
1450:21st-century classical composers
1445:20th-century classical composers
1399:- article by Richard Causton in
1385:- article by Richard Causton in
1310:"News - Oxford University Press"
1144:"Royal Birmingham Conservatoire"
1061:. 12 August 2002. Archived from
945:Causton, Richard (28 May 2004).
803:Darragh Morgan and Mary Dullea,
800:(both parts performed by Romano)
600:(for septet) - premiered by the
417:Light Breaks Where No Sun Shines
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783:Rituals of Hunting and Blooding
769:Prima Facie PFCD051, featuring
562:Saraband/The Way the World Ends
482:Rituals Of Hunting And Blooding
472:, premiered 1998 (revised 2001)
184:BBC Scottish Symphony Orchestra
1495:21st-century British composers
1490:20th-century English composers
1407:Review of 2002 performance of
1343:Cathy Nelson (agent's) website
1278:Jerram, Luke (26 April 2009).
1175:. 15 July 2011. Archived from
1169:"2006 RPS Music Awards Winner"
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235:European Union Youth Orchestra
99:(alongside his former teacher
1:
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841:Clemens/Carsten Seyer-Hansen)
807:, NMC D108 (2006) - features
76:, studying composition under
1359:100 Best Records of the Year
1087:Gover, Anna (16 July 2011).
833:English Encouragement of Art
831:NMC D150 (2009) - features
798:Two Pieces for two clarinets
628:English Encouragement of Art
538:Between Two Waves of the Sea
362:Two Pieces for two clarinets
149:contemporary classical music
29:
7:
1440:English classical composers
1204:"Richard Causton Interview"
861:"Professor Richard Causton"
688:Giovanni Battista Pergolesi
656:, premiered 16 October 2009
10:
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751:(Ryan Wigglesworth/BCMG),
582:Royal Philharmonic Society
544:Poems Almost of This World
374:Royal Philharmonic Society
317:(previous holders include
167:). Causton's contemporary
113:Trinity College, Cambridge
84:. In 1997, receipt of the
47:Centre for Young Musicians
22:(born 1971) is an English
1409:The Persistence Of Memory
1397:'The God of Small Things'
1379:(Oxford University Press)
1338:Richard Causton's website
947:"The God of small things"
796:, Metier, 92074 (2005) -
757:The Persistence of Memory
753:As Kingfishers Catch Fire
747:(Nicholas Collon/Halle),
598:As Kingfishers Catch Fire
456:The Persistence of Memory
366:The Persistence of Memory
237:to be premiered in 2012.
153:The Persistence of Memory
781:(Douglas Finch, piano),
452:(for solo bassoon), 1995
358:George Butterworth Award
188:Basel Symphony Orchestra
97:Birmingham Conservatoire
57:and singing in choirs).
977:www.classicalsource.com
815:Jerwood Series Volume 4
315:Mendelssohn Scholarship
309:Scholarships and awards
295:Nine Lessons and Carols
90:Scuola Civica di Musica
86:Mendelssohn Scholarship
36:Quintin Kynaston School
1480:2012 Cultural Olympiad
1383:'Music of the Spheres'
919:"Music of the spheres"
763:(Gerry Cornelius/BCMG)
550:Jesu, Sweete Sone Dear
498:Inventions in One Part
180:BBC Symphony Orchestra
173:Royal College of Music
124:Royal College of Music
109:Royal College of Music
105:Wells Cathedral School
74:Royal College of Music
893:"Music - Sheet Music"
634:) - commissioned for
614:, Cambridge, May 2008
580:, 2006 (winner: 2006
301:was set to a poem by
263:Karlheinz Stockhausen
220:Spitalfields Festival
80:and conducting under
53:(though also playing
1280:"Play Me, I'm Yours"
1208:Compositiontoday.com
813:London Sinfonietta,
809:Seven States of Rain
789:(Lisa Nelsen, flute)
775:Non mi comporto male
743:NMC D192, featuring
706:Twenty-Seven Heavens
604:, 2007, revised 2008
532:Seven States of Rain
526:Messe de Nostre Dame
522:Guillaume de Machaut
423:Non mi comporto male
370:Seven States of Rain
351:Non mi comporto male
327:Mark-Anthony Turnage
247:Messe de Nostre Dame
243:Guillaume de Machaut
122:Causton founded the
1254:"21_Piano_Nocturne"
564:- premiered at the
512:Cheltenham Festival
319:Sir Arthur Sullivan
259:Sir Michael Tippett
224:Cheltenham Festival
78:Jeremy Dale Roberts
1416:(12 November 2002)
1009:. 10 December 2010
767:A Land So Luminous
730:, 24 December 2015
700:London Sinfonietta
672:Play Me, I'm Yours
592:London Sinfonietta
578:London Sinfonietta
566:Aldeburgh Festival
528:) - premiered 2001
494:) - premiered 2003
464:London Sinfonietta
438:George Butterworth
323:Sir Malcolm Arnold
253:Causton has cited
216:Composers Ensemble
196:London Sinfonietta
66:University of York
49:, specialising in
1355:Millennium Scenes
1233:Darraghmorgan.com
1229:"Richard Causton"
1065:on 12 August 2002
865:www.mus.cam.ac.uk
827:Various Artists,
745:Millennium Scenes
741:Millennium Scenes
702:, 16 October 2010
678:Dark Processional
660:21 Piano Nocturne
518:Kyrie and Sanctus
476:Millennium Scenes
427:Ain't Misbehavin'
343:Brian Ferneyhough
231:Cultural Olympiad
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1357:NMC D192 (No.1,
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1290:on 26 April 2009
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1059:Music on the Web
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749:Chamber Symphony
650:Chamber Symphony
602:Britten Sinfonia
405:Works by Causton
389:other people."
275:Olivier Messiaen
143:Work as composer
16:British composer
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1179:on 15 July 2011
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1099:on 16 July 2011
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690:, premiered at
664:Frédéric Chopin
506:- premiered by
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287:Igor Stravinsky
169:Julian Anderson
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335:Steve Martland
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303:George Szirtes
279:Elliott Carter
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117:King's College
101:Edwin Roxburgh
82:Edwin Roxburgh
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641:
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629:
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612:Kettle's Yard
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158:The Spectator
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40:William Ellis
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1400:
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1387:The Guardian
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1284:Luke Jerram
838:Cradle Song
779:Night Piece
735:Discography
718:Night Piece
692:Kings Place
431:Fats Waller
331:David Blake
228:London 2012
212:Barrie Webb
204:Sinfonia 21
70:Roger Marsh
1424:Categories
1353:Review of
846:References
724:The Flight
624:, May 2008
492:John Donne
444:Two Pieces
299:The Flight
214:, and the
107:, and the
1294:4 January
1183:4 January
1148:Bcu.ac.uk
1103:4 January
1069:4 January
987:4 January
668:Nocturnes
450:Soliloquy
62:Param Vir
30:Biography
1319:9 August
1263:9 August
1238:9 August
1213:9 August
1153:9 August
1128:9 August
1039:9 August
956:9 August
930:9 August
902:9 August
794:Contours
771:Threnody
761:Notturno
608:Chorales
488:The Flea
470:Notturno
462:and the
411:Threnody
353:won the
24:composer
870:11 June
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594:), 2006
573:Phoenix
510:at the
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127:Gamelan
618:Snatch
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341:, and
285:, and
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1013:9 May
819:Sleep
805:Opera
787:Sleep
588:Sleep
429:" by
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51:flute
1321:2020
1296:2021
1265:2020
1240:2020
1215:2020
1185:2021
1155:2020
1130:2020
1105:2021
1093:BCMG
1071:2021
1041:2020
1015:2011
989:2021
958:2020
932:2020
904:2020
872:2022
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435:SPNM
355:SPNM
192:CBSO
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