Cantabile from Columbia Choirs, Katrina Turman, director (May 11)
Thomas Morley (1557-1602) – Now is the Month of Maying
Now is the month of maying,
When merry lads are playing, fa la la,
Each with his bonny lass
Upon the greeny grass. Fa la la.
The Spring, clad all in gladness,
Doth laugh at Winter’s sadness, fa la la,
And to the bagpipe’s sound
The nymphs tread out their ground. Fa la la
Marques L.A. Garrett (b. 1984) – Sing Out, My Soul
Sing out, my soul, your songs of joy;
Sing as a happy bird will sing
Beneath a rainbow’s lovely arch
In early spring.
Think not of death…
Strive not for gold…
Train up your mind to feel content,
What matters then how low your store?
What we enjoy, and not possess,
Makes rich or poor.
Sing out, my soul!
Bothell High School Chamber Choir, Mikaela Rink, director (May 11)
Kyle Pederson (b. 1971) – Can We Sing the Darkness to Light
What if instead of more violence
We let our weapons fall silent?
No more revenge or retribution
No more war or persecution.
It could be beautiful.
What if instead of our judgment
We soften our hearts that have hardened?
Instead of certainty and pride
We love and sacrifice.
It could be beautiful.
Can we see the other as our brother?
Can we sing the darkness to light?
Sounding chords of compassion and grace
Set the swords of judgement aside
Let mercy’s eyes
See the other human face.
Note from the composer: The text invites the listener to imagine a world without weapons or war – where the human experience is defined not through continued judgment of others, but through the lens of mercy and compassion. It could be beautiful.
arr. C.A. Pinto Fonseca (1681 – 1773) – Muié Rendêra
Portugese:
Olê, muié rendêra,
olê, muié renda,
tu me ensina a fazê rendá,
que eu te ensino a namorá.
Virgulino é Lampeão.
ÉLampa, é Lampa, é Lampa, é Lampeão.
O seu nome é Virgulino,
o apelido é Lampeão.
English Translation:
Hey, lacemaker woman,
hey, lacemaker woman,
if you teach me how to weave,
I’ll teach you how to court.
Virgulino is Lampeão.
He is Lampa, Lampa, Lampa,
he is Lampeão.
His name is Virgulino,
his nickname is Lampeão.
Two of the most popular folk tunes from Northeast Brazil are combined in this joyful arrangement of Carlos Alberto Pinto Fonseca (b.1933): Olê, Muié Rendêra and É Lampa, é Lampa, é Lampeão. Although Pinto Fonseca emphasizes the rhythmic aspect of the piece, his choral writing is very clear, which allows the listener to identify the melodies very easily. The simple harmonic vocabulary reinforces the simplicity of the style. In performance, the addition of percussion will strengthen the character of the baião, a Brazilian folk dance.
Born in Belo Horizonte, in the state of Minas Gerais, Pinto Fonseca has had a very successful career as a conductor. He has won several conducting competitions, not only in Brazil, but also in Argentina and Italy. Under his direction, the Madrigal Ars Nova toured in South America and Europe and achieved international recognition as one of the best Brazilian choral groups. Fonseca is well known for his arrangements of folkmusic. The Missa Afro-Brasileira (1976) won the “Best Vocal Work” prize of the Associação dos Críticos de São Paulo, and later became his most popular choral work in the United States.
Notes and translation by Daniel Rufino Afonso, Jr.
Cantabile and Bothell High School Chamber Choir (May 11)
Reena Esmail (b. 1983) – TaReKiTa
Dha Tarekita,
Dhum Tarekita,
Nom Tarekita
Takadimitaka
Takadimi Takajanu
Takadimi Na
Notes by Justin Birchell: The lyrics of TāReKiṬa are all taken from the percussion languages of North and South India. As the audience will see in Malhaar, Indian drums like the tabla can make a wide range of sounds depending on the drumstrokes used. In order to learn the complex patterns of their drumming, Indian percussionists learn to recite prataksharas, mnemonic syllables indexed to the different strokes of the right and left hand. In South Indian music, the prataksharas can express any rhythmic pattern and not just hand movements of the drummers; this solkattu rhythmic language has evolved into its own performance form in South Indian music, called konnakol. Esmail originally wrote TāReKiṬa for the Urban Voice Project, a choir composed of people experiencing homelessness in Los Angeles, inspired by her work teaching Indian rhythmical concepts to this group. A rollicking melody inspired by Raag Jog trades among the voice parts, and the rhythms on prataksharas propel the piece joyfully forward, embodying both Esmail’s affection for the Urban Voices singers, and the rhythmic vitality of Indian music. The hand movements you will see, an optional addition to the piece, are drawn from the Indian dance tradition of Bharatanatyam.
Bellevue High School Chorale, Andrew Jacobson, director (May 12)
Indonesian Folk Song, arr. Ken Steven (b. 1993) – Hela Rotan
Hela, hela rotan-e rotan-e
Tifa Jawa
Jawa-e ba bunyi
Rotan, rotan sudah putus
Sudah putus ujung dua
Dua bakudapa-e
Mangga mangga muda e manis e
mangga mangga
Datang dari Nila
Nona nona muka manis muka manis
bikin Sinyo
Sinyo jadi gila-e
English Transaltion
Pulling, pulling. Rattan vine tug-of-war.
Drum of Java–
Java goes kaboomie!
Rope of “Rotan”, it was broken.
It was broken, leaving two ends.
So let’s meet, and both shake hands!
Mangos, mangos! Mangos fresh, mangos sweet!
Come and buy them!
Mangos from Mount Nila!
Young Miss, Young Miss, Lady Sweet-face, Lady Sweet-face.
Men go crazy!
Fine men lose their minds for her!
Hela Rotan is a game of tug-of-war. The rope is traditionally made out of “rotan” (ROW-than), the vining palm from which woven furniture and other goods are made. In many Asian cultures, this game would draw two communities together for a celebration centered on a peaceable but rowdy contest. The athletes of a team were synchronized by their drummer, in whose hands rested the strategy of unifying the team’s traction and power. Because it takes two teams to have a contest, the tug-of-war celebrations symbolized that competition is also cooperation.
Reena Esmail – Tuttarana
Notes by Justin Birchell: Esmail writes that the title of this piece is a combination of the Italian word tutti, meaning “everybody,” and the Hindi word tarana, a form of vocal music from North India. While some commentators believe that the syllables of the traditional tarana are nonsense vocables, others—most notably the Hindustani vocal maestro Ustad Amir Khan—have argued that the syllables derive from the Persian language and speak in the idiom of Sufi Islam about the mystical union of spirit and body. The traditional tarana, like most Hindustani (North Indian) classical genres, is a form of solo music for a single vocalist, along with tabla and drone accompaniment. Esmail has reimagined the tarana as a choral form: thus the word tutti in the title. Tuttarana is a tour-de-force, a “three-minute tidal wave of sound,” which explodes the tarana form into alternating sections of forceful harmonies set to traditional Hindustani percussion bols, syllables of “drum language” used to recite rhythmic patterns, and melodic segments on tarana-like syllables. The rapid unison percussion-recitation, the shifting meters, the Hindustani-like gliding and sliding ornaments, and the complexified harmonies make this piece an exciting musical challenge for any choir. Esmail writes that the tonal ideas of the melody are inspired by a Hindustani raga, or melody-form, called Raag Jog, which embraces both major and minor musical modalities, through its slippery use of both major and minor thirds. The name of “Jog” (related to “yoga”) bespeaks a union of the individual soul with the cosmos, much like the supposed Persian lyrics of the tarana.
Darius Lim (b. 1986) – Ashes to Dust
Kyrie Eleison Lord have mercy
Christe Eleison Christ have mercy
Dona Nobis Pacem Grant us peace
Ashes to Dust was commissioned by East Spring Chorale and premiered at the Victoria Concert Hall in Singapore on 19th April 2015. The song was written during the year of the pass of of Mr Lee Kuan Yew, the first prime-minister of Singapore, and was written in commemoration of him. The work explores the grief and hope of life and death, with the sacred latin text “Kyrie Eleison” and “Dona Nobis Pacem”. For Choir SATB and Piano.
Jennifer Lucy Cook (b. 1988) – They Are Mother
What shall I call this force I know
Who do I come to when I wonder
The space that holds me when I’m low
More than a parent, friend, or lover
They are Mover
They are Maker
They are Mother
They are Mother
They are the breath I see in cold
The ready muscle in the sprinter
They are the glitter and the gold
The steady heat lamp in the winter
They are Mover
They are Maker
They are Mother
They are Mother
They nod and know
They need nothing
They’re god and grow
They bleed blessings
They are solitude
They are multitude
They are gratitude
Gratitude
Laugh lines around the all-seeing eye
And I can lean up into the sky
Laugh lines around the all-seeing eye
And I can lean up into the sky
What shall I call this force I know
Who do I come to when I wonder
They are Mover
They are Maker
They are Mother
They are Mother
Notes by the composer: “They are Mother,” embraces the “feminine Divine”—the feminine spirit that resides in all people. The subject is non-binary, but also non-singular; the music is expressed as a collective “we.” This piece explores the extreme of the human experience: loud, quiet, happy, reverent, and joyful. “They Are Mother” was the winner of the Chorus Austin composition prize in 2022!
arr. Katerina Gimon (b.1993) – Apple Tree
Texts and Music by Aurora Aksnes, Odd Martin Skålnes and Magnus Skylstad
All of my life I’ve been hunting,
I’ve been a girl, I’ve been a boy
Digging my feet into the ground
Like an apple tree
Wanting to live with a purpose
Skin is a word, love is not a sin
People are bad, people are good
Just like the moon is a stone
But it’s a star when it’s dark
And now she’s hiding
If you’ve seen what a heart is
You’ve seen its colour
If I ever knew how we could guide it
I would take care of its children
Become their mother
If I ever knew how we could hide it
Hide it
Let her save the world
She is just a girl
Let him save them all
He is just a boy
Hunger is quiet, if you do it right
Hunter is loud and predictable
Scaring away every prey
So they are gone
Before the hunter arrives
Would you be kind, and put away your sword
You cannot cut away what we got
You cannot kill what we are
We are not here
In physical form
You’ve seen where the knife is
Its dark location
If I ever knew how we could fight it
(Fight it)
I would cut into our anger
Make pure emotion
If I ever knew how we could hide it
Hide it
Let her save the world
She is just a girl
Let him save them all
He is just a boy
Can you carry the weight of mortality?
The explosions around you are your symphony
Let her save the world
She is just a girl
Let him save them all
He is just a boy
Notes by Katerina Gimon: In the words of singer-songwriter AURORA, Apple Tree is a song about “the potential hidden in all of us”. The lyrics address the urgency of the global climate crisis but serves as a hopeful reminder that within each and every one of us lies the power to make a difference. If we unite, listen, and support one another, together we can “save the world”.
This arrangement was commissioned and premiered by the Vancouver Youth Choir at the World Music Symposium in Istanbul in 2023.
Newport High School Chamber Choir, Nancy Fisher, director (May 12)
Reena Esmail – TaReKiTa
Dha Tarekita,
Dhum Tarekita,
Nom Tarekita
Takadimitaka
Takadimi Takajanu
Takadimi Na
Notes by Justin Birchell: The lyrics of TāReKiṬa are all taken from the percussion languages of North and South India. As the audience will see in Malhaar, Indian drums like the tabla can make a wide range of sounds depending on the drumstrokes used. In order to learn the complex patterns of their drumming, Indian percussionists learn to recite prataksharas, mnemonic syllables indexed to the different strokes of the right and left hand. In South Indian music, the prataksharas can express any rhythmic pattern and not just hand movements of the drummers; this solkattu rhythmic language has evolved into its own performance form in South Indian music, called konnakol. Esmail originally wrote TāReKiṬa for the Urban Voice Project, a choir composed of people experiencing homelessness in Los Angeles, inspired by her work teaching Indian rhythmical concepts to this group. A rollicking melody inspired by Raag Jog trades among the voice parts, and the rhythms on prataksharas propel the piece joyfully forward, embodying both Esmail’s affection for the Urban Voices singers, and the rhythmic vitality of Indian music. The hand movements you will see, an optional addition to the piece, are drawn from the Indian dance tradition of Bharatanatyam.
Traditional Lakota Lullaby, arr. Linthicum-Blackhorse (b. 1989) – Chanté Wašté Hokšíla
Ahí yé, hé yo iyé.
We hé yo iyé.
Ahí yé, hé yo iyéya.
We yeló iyé.
Chaⴂté wašté hokšíla
Lá khé ištíⴂma.
Haⴂhépi kiⴂ wašté.
We yeló iyé.
Translation:
I have brought you here, so that I can speak to you in your language.
I am speaking to you in your language.
I have brought you here, so that you will recognize me.
I am speaking your language.
My kind-hearted boy
I beg you to fall asleep. The Night is good.
I am speaking your language.
Chaⴂté wašté hokšíla is a traditional Lakota lullaby sung by mothers to their young boys. The Lakota language has become nearly extinct, but composer/arranger Linthicum-Blackhorse has made it his life’s work to bring the language back to life. This work is dedicated to the victims of the Robb Elementary School mass shooting in Uvalde, Texas.
Filipino Folk Song, arr. George G. Hernandez – Paruparong Bukid
Paruparong Bukid
“The Field Butterfly”
Paruparong bukid na Iilipad-lipad
Field butterfly, flying around
Sa gitna ng daan papagapagaspas
In the middle of the road, flapping its wings
lsang bara ang tapis
Wearing a nine meter-long apron over her back skirt
Isang daugkal ang manggas
A handspan tall is the butterjly sleeves
Ang sayang de kola
Her skirt, shaped like a grand piano
Isang pyesa ang sayad
Has a train with the length of the entire rack of cloth
May payneta pa siya –uy!
She even has an ornamental double comb – wow!
May suklay pa man din – uy!
And even a decorative comb – wow!
Nagwas de-ohetes ang palalabasin
She shows her petticoat embroidered with eyelet.
Haharap sa altar at mananalamin
She faces the church’s altar and looks at her beauty in the mirrors.
At saka lalakadnang pakendeng-kendeng.
Then she struts swaying her hips.
“The Field Butterfly” is a humorous song about the alikeness of a field butterfly to a 1900’s-era Filipino lady dressed in her glamorous formal dress with tall butterfly sleeves. She struts swaying her hips down the aisle of the church as everyone looks on.
Reena Esmail – Malhaar: A Requiem for Water (May 11 and May 12)
Notes by Justin Birchell: Water: the unique properties of the humble H2O molecule make possible all the chemical processes that make up life. We are blessed with a planet awash in liquid water, yet the environmental systems that make that water available for us to drink, bathe, and swim are fragile, vulnerable to pollution and to the alterations of climate change. The safeguarding of water is one of the critical imperatives of our times.
In traditional Indian life, water is nowhere more undeniably forceful than in the prodigious rains of the monsoon season, which lasts roughly from July to September over the subcontinent. The power of the monsoons finds expression in a family of Hindustani ragas known as the malhaars. A legend tells that the great Hindustani master-singer Mian Tansen once lit all the palace lamps by singing the fire-raga Deepak, and then extinguished them by summoning a downpour when he sang Raag Malhaar.
Ragas are melody-forms in Indian music. Like scales or modes, they carry with them prescribed notes and intervals, but they go beyond a Western scale in their prescription of specific note-movements, characteristic phrases, and required ornaments. Each raga has a face, a rupa, as recognizable as that of a human, and a mood, a rasa, that is evoked when the raga is sung with the correct subtleties, as by our masterful guest singer, Saili Oak. The malhaar ragas are a diverse family, but many share the languishing oscillation between two chromatic forms of the seventh scale degree. The Indian singer-writer Amit Chaudhuri writes that this “leading note straining to find…a finishing point” on the way to the tonic note, evokes “the anticipatory atmosphere of the rainy season, in which thunder, lightning, and breeze all express the desire for rainfall.”
The Indian monsoon rains drench the landscape, swell the courses of the Ganges and Yamuna rivers, and end up deposited as snowpack on the ramparts of the Himalayas. But Himalayan snowpacks, like those of our own Cascades and Olympics, and of Esmail’s home state of California, are dwindling in the age of global temperature rise, endangering the waterways that give us life. Esmail’s Malhaar is a hopeful requiem to their memory, a call to save them before we’re left with only mourning, and a song of praise for the profound beauty of water.
Mvmt 1 – Holy Water
Cymbals from Tibet evoke the heights of the Himalayas, from which the rivers of India flow down. The Hindustani vocalist sings in Raag Megh, whose very name translates to “cloud,” one of the most fundamental of Hindustani ragas and a classic of the monsoon type. The choir at times enacts the drone of the Indian tanpura, but with waving oscillations that evoke ripples spreading out on the water’s surface. The tabla beats ektaal—an Indian rhythmic cycle of twelve beats in length. The Hindustani singer intones in Hindi that “all water is holy water.” The notes of Raag Megh flow into the choir as they sing lyrics by Wendell Berry expressing the freedom in the flow of clouds, rain, and streams.
Sakal jal hai pavan
is amrut ko naman.
(All water is holy water.
Bow in reverence to this divine elixir)
The cloud is free only
to go with the wind.
The rain is free
only in falling.
The water is free only
in its gathering together,
in its downward courses,
in its rising into air.
-Wendell Barry (from “The Law that Marries All Things”)
Kyrie eleison.
(God have mercy.)
Mvmt 2 – Requiem Aeternam
The Latin words of the requiem mass appear in the choir: may they rest peacefully, and may eternal light shine upon them. The Hindustani singer incants the single word “gyan,” meaning wisdom or enlightenment. Perhaps this movement is a wish for humans to find the enlightened wisdom to keep our waters perpetually clear. The Hindustani singer sings in a raga called Hamsadhwani, whose name translates to “the cry of the swan”…the swan for whom clean water is a necessity of life…the swan gliding on a clear and unsullied lake…
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
(Grant them eternal peace, Lord,
and let perpetual light shine upon them.)
Mvmt 3 – Skeptical Bell
In his poem “Dream of Mount Liberty,” William O’Daly envisions the mountain as a “skeptical bell” that can “no longer hear its own ringing.” The mountain faces the “fierce certainty of dust,” as drop by drop the snow that once covered it, “snow that no longer falls,” flows away downstream in rivers. The stacked harmonies and undulating vowels of the choir invoke the clangorous but beautiful vibrations of a large bell, fading away to silence each time. This movement leads into a solo by our tabla player, and then into an interlude by the Hindustani vocalist. The interlude takes the form of a bandish, a song form in Hindustani music; the Hindi words speak of the impossibility of quenching one’s thirst at a dry stream. The bandish is in Raag Mian ki Malhar, perhaps the ultimate prototype of a malhaar raga, with its swinging oscillation from the flat to the natural seventh, and its wavering andolan (slow vibrato) on the flat third, subtly suggesting, without ever affirming, the major third: motions as fluid and ambivalent as the undulations of water.
Skeptical bell, fierce certainty of dust,
the snow-covered mountain
no longer hears its own ringing.
It knows no fear.
In its language
will does not exist.
Its rivers carry
the past in snow
that no longer falls.
-William O’Daly (“The Dream of Mount Liberty”)
INTERLUDE I: Sakhi Neer Bharan
Sakhi Neer bharan kaise jaaoo?
Sookhi Nadiya ki pyaas kaise bujhaaoo?
(O Friend, how will I go to fill water?
How will I extinguish this thirst from a dry stream?)
Mvmt 4 – Lacrimosa
William O’Daly’s poem “In Franconia Gorge,” and the Latin “Lacrimosa” text from the requiem mass, share the image of human tears. For O’Daly, the tears are a question: “after the last drops of rain,” “how will we weep when we need to”? In the Latin text, the tears are wept by the souls facing the Last Judgment: perhaps an apocalyptic judgment we bring on ourselves if we callously disregard our duties to steward our lands and waters. After an “amen,” the choral movement again leads into Saili Oak’s bandish, a question just like O’Daly’s: “How will I extinguish thirst from a dry stream?”
Is this ever-descending water
human tears? Do they mean nothing?
Will the stone heads that weep
in the late afternoon fade away?
Without you, how will we weep
when we need to?
How will the earth smell
after the last drops of rain?
-William O’Daly (“In Franconia Gorge”)
Lacrimosa dies illa,
Qua resurget ex favilla.
Iudicandus homo reus:
Huic ergo parce, Deus.
Dona eis Requiem.
(Full of tears shall be that day
when from the ashes shalll arise
the guilt man to be judged:
Spare them by your mercy, Lord.
May they rest in peace.)
INTERLUDE II: Sakhi Neer Bharan II (Reprise)
Sakhi Neer bharan kaise jaaoo?
Sookhi Nadiya ki pyaas kaise bujhaaoo?
(O Friend, how will I go to fill water?
How will I extinguish this thirst from a dry stream?)
Mvmt 5 – Agnus Dei
After a recurrence of the “skeptical bell” tones, movement five is a gently rocking prayer in two languages at once, Latin and Hindi. Both prayers ask God to take away sorrows and grant peace. The tabla keeps jhaptal, a cycle of ten beats. In the middle section, the choir and the Hindustani singer vamp together as the Hindustani singer explores and expands the melodic possibilities of her poem. Melodic improvisation and expansion, called vistaar in Hindi, is essential to Indian classical music; notice how Oak sings the same lyrics over different melodic twists and turns at each repeat, following the inspiration of the moment in how she spins out the melody.
Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.
(Lamb of god, who takes away the sins of the world, grant them eternal peace.)
He kartar karunaghan
Sakal bihgan kar vinash
De shanti, de prakash
(O God, full of mercy
Please take away all our sorrow
Give us peace, give us light)
Mvmt 6 – Questions for God
In this movement, the Hindustani elements drop away and only the Western ensemble remains. The choir sings its most complex harmonies of the entire cycle, sharpening the bite of uncertainty in O’Daly’s “Questions for God.” The choir sings of “the other shore”: is this shore the next life? O’Daly’s image of the sea reminds us of another meaning of water: the metaphorical voyage we sail from this life to the next. O’Daly’s poem, no less than the liturgical text of the requiem mass, points toward our awe at the mystery of death. And what does it mean to mourn the death of water?
Have I arrived? Why am I here?
When will I leave for the other shore?
Who will I be there where I once was?
And what sea is this? is it mine, is it yours?
If it is ours,
where are we?
-William O’Daly (“Questions for God”)
Mvmt 7 – The Dream of the Waterfall/In Paradisum
The final movement weaves together texts from two O’Daly poems, the “In Paradisum” from the Requiem, and the Wendell Berry text from Movement One: “The water is free only in its gathering together.” The “In Paradisum” melodic motif, with which the choir wishes for the entry of the soul into paradise and rest, is drawn from the pakad (catchphrase) of Raag Kedar, and the Hindustani vocalist sings in Kedari Malhaar: a fusion of Raag Kedar with Raag Mian ki Malhar. It is fitting that the ensemble intones Kedar at this moment, and just after singing, “love changes everything and we will never be the same.” According to the Guru Granth Sahib, the holy scripture of the Sikh religion, Raag Kedar “expresses and makes the mind aware of the soul’s true character,” and “conveys the emotions of honesty, integrity and truthfulness in a practical and caring way…without arousing cynicism.” The hope of Movement VII is for the dawning of a more holistic wisdom, and the integrity to act on it: a wisdom to care for our precious water. The Hindustani singer gets the final word: “Sakal jal hai pavan is amrut ko naman”: “All water is holy water; bow in reverence to this divine elixir.”
The old stones stream in the arteries
of the gods, and every moment the river
changes, our bodies change, love changes
everything and we will never be the same.
(O’Daly)
In paradisum deducant te Angeli
Chorus Angelorum te suscipiant, et
cum Lazaro quondam paupere
aeternam habeas requiem.
(May the angels lead you into paradise
May the choir of angels receive you
and with Lazarus, once poor,
May you have eternal rest.)
The river empties into the burning field,
collides in light and shadow,
where in the caves of forgotten animals
the prehistoric dream is in motion.
It flows on in darkness. It does not stop.
-William O’Daly (“The Dream of the Waterfall”)
The water is free only
in its gathering together,
in its downward courses,
in its rising into air.
-Wendell Barry (Reprise)
(from “The Law that Marries All Things’)
Information on the poetry:
Wendell Berry, excerpt from “The Law That Marries All Things” from New and Collected Poems. Copyright © 1982 by Wendell Berry. Used with permission of The Permissions Company, LLA on behalf of Counterpoint Press, counterpointpress.com. All rights reserved worldwide.
“In Franconia Gorge,” “The Dream of Mount Liberty,” and “The Dream of the Waterfall” are reprinted from The New Gods, by William O’Daly, Beltway Editions, 2022.
“Questions for God” is reprinted from Water Ways, by William O’Daly and JS Graustein, Folded Word Press, 2017. All four poems are used with permission.
All Hindi text created as original translations of Latin/English text or compiled from public domain sources by Saili Oak and Reena Esmail.
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