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axioms

Anonymous (anonymous@undisclosed.example.com) — 2026-02-11T15:55:12+00:00

The Axioms of Classical Music Tagging

1.0 Introduction

How one goes about organising a large collection of digital classical music is a problem that has many potential solutions. Here, I offer you some guidelines as to how I think you might go about creating a well-organised, easily-searched, efficient and effective classical music library.

This article takes as its starting point the idea of a natural 'primary key to classical music recordings', as previously discussed in this article. You should read that article if you haven't already done so, because it explains what the fundamental pieces of metadata are with which we need to tag our digital music files. Once you understand that principle, quite a lot of everything else falls naturally and fairly easily into place.

I have called the 'points' I bring up “axioms”: self-evident truths requiring no proof. Partly this is tongue-in-cheek: they probably do require proof but I have neither the time nor patience to provide it! But partly it's not quite so tongue-in-cheek: I've been using these principles, refined over time, for more than 2 decades to do my own music tagging -and I think, therefore, that the principles that have worked for me are likely to work for you too. If the word 'axiom' bugs you, however, with its hint of exalted arrogance, feel free to substitute in words like 'principle', 'rule', 'proposal' or whatever else seems more fit!

Axiom 1: The Tags We Need (and the one's we don't!)

FLAC files (the sort I think you should store your digital music in) use Vorbis Comments to store metadata about the music contained in the FLAC file in a practically unlimited set of key=value pairs (technically, there can only be 4 billion such pairs per file, but that's practically unlimited). You declare the nature of the data by giving the key a name; you then assign some meaning to the data by assigning a value for that key. For example, “artist=britten” or “album=symphony no. 5”.

Since there is no practical limit to the number of these key/value pairs you can create, you could cook up such delights as “recording_engineer=John Culshaw” or “Key_Signature=E flat major”. Or even “Tea_Lady=Mrs. Hudson”.

Such key/value pairs would technically be described as “custom tags”. More bluntly (and more accurately), they should be described as “bonkers”.

The trouble with custom tags is that hardly any music playing software displays them or uses them for searching and ordering your music. Want to find all the music you own that's in the key of E flat major? Well, good luck trying to search that Key_Signature tag you created to store that sort of information: no player I can think of will let you do it by default. Few will even display that information in a column when found. Which might mean it's time to invest in new playing software -or it might mean that the world in general has decided that this sort of information isn't really useful to see or find when it comes to the common business of playing music.

Bear in mind, too, that your music files are not the only source of information in the world. You don't need to tag then with the kitchen sink of data, because you can always visit Wikipedia, Google, IMSLP or any number of other websites to find this sort of fairly esoteric data.

So, the point of Axiom 1 in this list is that there is a hard core of tags you ought to tag your music files with and a wild bunch of data which you could tag them with but shouldn't.

And here is my asserted list of must-have tags:

COMPOSER
ARTIST
PERFORMER
ALBUM
GENRE
COMMENT
TRACKNUMBER
TITLE

And here is a list of tags you will commonly see advocated for use, but which you should never use:

ALBUM ARTIST
LYRICS
CONDUCTOR
BAND or ORCHESTRA
KEY

Plus all the other crazy tags (like recording engineer!) that are really of no use to anyone except the kind of classical music listener that probably does train spotting. I don't collect details such as recording engineer or record label because those are, I think, not relevant to the business of choosing, finding and playing classical music. If you are someone that thinks, 'If it's on Decca, the recording quality is probably good, but if it's DG, then it might be ropey' and that sort of thing affects your choice of music, then be my guest and create custom tags for that sort of data… but good luck finding a player that will ever let you use or display that data.

Putting this from the other direction, as it were: Axiom 1 states that there are only 8 pieces of information you need to record about any piece of classical music. Everything else is just a waste of time.

Axiom 2: ARTIST and COMPOSER are the same thing

People tend to get quite defensive about this, but whether a recording is conducted by Karajan or Boult or Rattle is much less significant than whether the guy who wrote the music being recorded was called Beethoven or Bruckner. The performers of the work are useful to know for finding a recording to play -so you certainly need to be able to search and discover music conducted by X, or played by Y. But the organising principle of your classical music collection must be by the composers who created its contents in the first place.

Ideally, we would therefore tag our music with the COMPOSER tag, and that would get our music collection organised nicely. Unfortunately, hardly any music player written offers to sort and group your music by the COMPOSER tag, if they are even aware it exists -so putting all your tagging eggs into the COMPOSER basket would be pointless. Nearly all music players tend to organise, sort and group their music by ARTIST, however.

So, ideally, we would tag and organise by COMPOSER; practically we need to tag and organise by ARTIST. The logical solution to this apparent dilemma is therefore quite straightforward: COMPOSER and ARTIST tags must be filled with the same data, always.

Now, technically, in data theory, we don't like data found in one place being duplicated in a second -because that means you've got two bits of independent data which ought to be the same, but there's no mechanism available to make them be the same. They could therefore drift apart and end up with different values, and then you've no basis for saying which of the values (if either) is the correct one. So data purists would say, 'Since players only use the ARTIST tag, only fill in the ARTIST tag, and forget all about the COMPOSER tag entirely'.

They would not be wrong: that is the technically correct approach to take.

I have, however, found over the years that classical music listeners really don't like not having a tag called 'COMPOSER'. It is a central feature of classical music, after all! So, whilst Axiom 2 states that ARTIST must always be the same as COMPOSER, a rider to that axiom is 'unless you choose not to fill in the COMPOSER tag at all'.

Axiom 3: COMMENT is where performer details go

If ARTIST is going to be used to store the composer's name, where do you stick the details of, er, the artists making the recording? Well, PERFORMER seems plausible -but it often is not exposed by many media players, and is rarely searchable. So sticking the details there doesn't really 'expose' that data in a useful way. You will, after all, want to be able to find music that's being performed by the Berlin Philharmonic or conducted by Simon Rattle… that data needs to be searchable.

The one tag which is commonly displayed and made searchable in every media player with which I'm familiar is COMMENT. Therefore, Axiom 3 states that performer details are always stored in COMMENTS.

A rider to this axiom is that 'and they should be entered in a consistent manner and in a consistent, coherent order'. I would suggest, for example, that you always enter performer details in the order: conductor, orchestra, choir, soloists. And another rider to the axiom is that you spell out the function of each soloists, in brackets -so that you have, for example, “Fred Dimples (baritone)” or “Freda Wimples (harp)”. It, of course, goes without saying (though I'm about to say it!) that if there is no choir on a recording, or no soloists taking part in this performance of a symphony… you simply miss out the components that don't apply.

There's no particular reason for that suggested ordering, by the way, except that it mirrors what I think most people's sense of 'order of precedence' regarding classical music recordings. “Oh, Karajan's fifth is great” or “Solti's Ring is the best”… such statements tend to indicate that we think of the conductor as being of more 'weight' than whoever the orchestra or soloists might be. You'll then hear critics talking about 'Karajan's recording of that symphony with the Vienna Phil were much better than when he tried it with the Czech Symphony Orchestra' -and that again suggests that after conductors, we think primarily about the major orchestra involved. And so on.

The key thing, however, is not so much a specific ordering as that you are always consistent about whatever ordering you decide on. It would be handy to be able to say 'the first name in the list, before the first comma, is always the conductor's', for example. You'll find you can manipulate and manage your data much better later on if it has been entered in a consistent -and thus predictable- format.

Axiom 4: GENRE is a single word sub-division, not a musicological exactitude

Every piece of music you own should be assigned a 'genre' -an adjective (usually!) which describes the general 'type' of music we're talking about. It's purpose is to divide a composer's music up into manageable sub-sections, rather than see everything a composer wrote in one enormous and un-navigable list.

When I dive into my collection of Johann Sebastian Bach, for example, I want to see this:

…and not this:

In the first case, if I want to listen to Cantata 140, I know roughly where to start looking. In the second case, I haven't got a clue -and even if I remember it's first line starts 'Wachet Auf!', I really don't want to have to scroll through all works named A to V before I can find it, though that's what the purely alphabetical ordering of recordings would force me to do!

GENRE provides a logical grouping of works, keeping a composer's choral pieces in separate 'virtual locations' in your music library away from his symphonies or chamber works.

GENRE should not, however, be allowed to become a demonstration of musicological nit-picking. Beethoven's Symphony No. 9 is a symphony, not a choral work, or an orchestral work-with-choral end piece, or 'Symphony/Orchestral/Choral', for example. For similar reasons, we'd group operas together without trying to be academically clever about tagging them as 'opera seria' versus 'opera buffa', for example. For the same sorts of reasons, grouping things as 'chamber' is fine, but grouping them as 'string quartets', 'string quintets', 'sextets', 'octets', 'nonets' and so on and on would be silly: the more precise and 'accurate' your genres, the less useful they are in dividing-and-yet-usefully-grouping a composer's output into usable chunks. (I will note that I do use a genre of “Quartet”, because I have enough string quartets to make that sub-division useful; I do not differentiate my quintets from the sextets and so on, though.

In summary, then, GENRE should always be a one-word summary of the type of work a composition is, not a multi-word, set of nested sub-genres. It should be as precise as needed to break a composer's output up into conveniently-sized chunks, but not so precise that it fractures a composer's ouvre into a bazillion tiny pieces! I've prepared elsewhere a list of what I would consider 'appropriate' genres to use, along with some artwork that I use to represent them on my media servers.

So, Axiom 4 states that a single-word, generic but descriptive term for sub-groups of a composer's output should go in the GENRE tag -and with the rider that you shouldn't try to get too precise or picky about what genres you use. I will also acknowledge that I break my own Axiom 4 when I use the genre 'Film - Theatre - Radio' …but only because I lacked the imagination to come up with a one-word description of the sort of category film scores, music for radio plays and incidental music to theatre productions should use! You'll note that I hyphen-separate the three 'elements' of that genre: there are no forward- or backward-slashes, and I'm not trying to imply a hierarchy or 'compound genre' as is true of the 'Symphony/Orchestral/Choral' example mentioned earlier. I personally don't distinguish between 'Choral - Sacred' and 'Choral - Secular', but if I did, they'd be permitted exemptions to the 'single-word' rule, because they again are merely finding it difficult to describe a genre with one word, not trying to construct a 'compound' or 'multi-level' genre.

Axiom 5: The ALBUM is for the extended Composition Name

You'll have to read <a href=“https://absolutelybaching.com/primary-keys-to-music/”>my other article on the Primary Keys for Recorded Music</a> to understand why there's such a thing as an 'extended composition name' and what it is precisely, but the short version is: the extended composition name is a combination of the actual composition name, plus the conductor's (or other distinguishing artist's) surname, plus the recording year. These three pieces of data are all needed because only that combination of information truly, uniquely and invariably identifies one recording of (say) a particular symphony from another. When combined, we refer to these three pieces of information as 'the extended composition name' -and Axiom 5 states that it is the extended composition name which goes into the ALBUM tag.

Consistency of approach is vital here, and I would strongly recommend you to adopt this formatting approach:

Traditional Composition Name (surname - recording year)

…and I mean by this that, literally, you put the distinguishing artist's name and recording year inside brackets with a space-hyphen-space separator, and all of it comes after the 'traditional' name of the composition. You would, for example, end up with something like:

Symphony No. 5 (Karajan - 1966)

My personal preference is not to clutter the 'traditional name' component of this construct with technical detail about opus numbers, catalogue IDs, key signatures, nicknames or anything else which isn't directly the formal composition name. That is, I would not say 'Symphony No. 5 in C minor, Op. 67' or 'Symphony No. 101 “Clock” H.1/101', but simply 'Symphony No. 5' or 'Symphony No. 101'. I prefer my 'traditional name' components to be precise and short (because you will play music on devices that don't always have very wide screens and which cannot therefore display long titles in full). Bolting on the distinguishing artist's surname and the recording year already makes album names quite long: I don't like to add to the length if it's not strictly needed. Remember that you can always look information up in Wikipedia or elsewhere: the album name shouldn't be shoved full of information in the apparent belief that it's your only source of information about the work!

There are some exceptions to that last paragraph, however. I find Mozart and Bach in particular have enormous catalogues of music that are quite hard to navigate through and find any particular piece of music within, simply because they wrote so much of it! For those composers alone, therefore, I try to prefix their 'traditional names' with their catalogue numbers.

Hence all my Bach would be tagged as (say) BWV 140 Wachet auf, ruft uns die Stimme (Suzuki - 2011) or BWV 988 Goldberg Variations (Perahia - 2000). This only works when the catalogue number prefix would usefully group like-minded works together, however, which will happen if the catalogue in question is a thematic one, rather than a chronological one. The Koechel catalogue for Mozart is, unfortunately, vaguely and inaccurately chronological, so rather than prefix all my Mozart with those catalogue numbers, I invented <a href=“https://absolutelybaching.com/how-are-your-kochels/”>my own thematic catalogue</a>. This has the effect of grouping all symphonies together, all chamber works together, all operas together and so on. In effect, the album name takes on the function of the GENRE tag… and it's not particularly good practice to let one piece of data duplicate the function of another like that. But I find it necessary for Bach and Mozart because of the sheer quantity of music involved. You may feel differently, and that's fine: Axiom 5 does not mandate this approach at all.

Axiom 6: The PERFORMER tag is for the 'distinguishing artist'

For some people, the ability to search for all music recorded by Herbert von Karajan is important. Now, if his name is in the COMMENT tag (as it should be), it will be searchable and discoverable from there… so in that case, there's no real reason to store it anywhere else. Except… it is not always so easy to search within a large chunk of text for a specific substring. I mean, you might tag the COMMENT as Herbert von Karajan, Berlin Philharmonic: how certain are you that your music player will see “Karajan” and “,” as separate things? Some will, some might not. It's really the uncertainty that's the issue here: and the way to fix it is to repeat the conductor (or other 'distinguishing' name) in the PERFORMER tag, freed from all encumbrances of surrounding text or punctuation. It means you should be able to search the PERFORMER tag for “Karajan” and be certain of finding a match, because you won't be dealing with “Karajan,” (with attached comma) entries that might or might not match.

Repeating data in more than one place is not ideal, for reasons already discussed (see Axiom 2), and I was a late convert to the need for anything in the PERFORMER tag at all. The main problem is that its use really sets up an unspoken 'rule' that the first entry in the COMMENT tag matches what is in the PERFORMER tag… but there's no mechanism that can enforce that rule, so it's perfectly possible that having started out matching, the two bits of data could diverge over time… and then you have no real idea of which is the right value, assuming either of them is 'right' in the first place.

Axiom 6 is a breach of normal data modelling rules, but I think its usefulness to search and music discovery processes outweighs the theoretical objections on this occasion. Axiom 6 therefore states that the distinguishing artist's full name will appear in the PERFORMER tag.

Axiom 7: The YEAR tag is for (an approximation of) the Recording Year

A little like Axiom 6, we repeat another piece of data when it comes to the Recording Year. It's already in the extended composition name and thus in the ALBUM tag (see Axiom 5). We now repeat that same year in a dedicated YEAR tag.

Technically, it's data repetition and that's a bad thing: but unfortunately a lot of music players think that sorting things by their recording year is a sensible thing to do (it isn't for classical music!), so it's better to have some data in the relevant tag than to simply leave it blank and give no clue whatever to such players.

The YEAR should only be a year: do not ever be tempted to put in specific day-month-year type of dates: there's no point, and Americans will put numbers in the wrong way round as far as Europeans are concerned anyway! Quite often, it's hard to find out even a specific recording year, so it's rather pointless to pretend that you can get a highly day- or month-specific use out of the field.

Fundamentally, too, the YEAR is of little use to anyone except in specific circumstances. When we're talking about Megastar Conductors re-re-recording the symphonies of equally Megastar Composers, then fine: being able to distinguish between Karajan's 1960 cycle and his 1970s one is important, just as it's useful to be able to tell Boult's 1958 recording of Vaughan Williams' 9th Symphony from his 1969 one. But these sorts of exceptions aside, no-one really cares whether Rattle conducted Szymanowski's 3rd symphony in 1992 or 1993, so being fanatically precise about it, for nearly any normal listener of music, is pointless pedantry.

When in doubt, see if you can find a ℗ date in the recording's booklet: the recording date will probably be the year before that, or -sometimes- the year before that. So if you see ℗ 1976, the recording year might be entered as 1974 or 1975 (it's more likely than not that 1975 would be the 'correct' year, but it is not invariably so).

Anyway, Axiom 7 states that the YEAR tag is to store the approximate or known year of recording, not a specific date.

Axiom 8: The only track-specific metadata are track number and title

Axiom 8 is a little by way of summing up: everything discussed up to this point has been information that is of 'extended composition-wide' significance. The conductor, the orchestra, the soloists, the recording year, the composition name, the principle artist: all these things are pieces of data which apply to the entire composition, without exception.

The corollary to this observation is that things like performing artists names, soloists and so on do not change on a per-track basis. I realise that in an opera recording, you'll have a Maria Callas aria in track 16 and a Giuseppe di Stefano aria by way of rebuttal in track 17. But we do not tag each track with whoever happens to be singing on that track.

There are two basic reasons for this: first, it would take you an age and a half to mark up a CD rip if you had to keep chopping and changing the contents of the COMMENT tag on a per-track basis. The harpsichordist is silent in tracks 4, 5, and 8, but needs mentioning in tracks 1,2,3 and 7?? Forget it! Just say there's a harpsichordist playing throughout the entire composition. And here's reason number two: because you've got a pair of ears that can work out whether it's a soprano singing here and a tenor there; or a harpsichordist there and an oboist here.

So, COMPOSER, ARTIST, ALBUM, COMMENT, PERFORMER, YEAR, GENRE are all composition-wide tags. That means, as Axiom 8 states, that only TRACKNUMBER and TITLE are track-specific pieces of information.

Another implication of this axiom is quite profound: since ALBUM is composition-wide, if you've got a single CD with Beethoven's Symphony No. 5 and Mozart's Symphony No. 40 on it, the 8 tracks of that CD cannot share the same ALBUM tag. Therefore, they have to be ripped as two separate compositions, each of which can have their own, unique ALBUM tag. It is, in other words, never acceptable to rip a CD as a single 'entity' called 'Classic Symphonies' with track 1 labelled 'Beethoven: Symphony No. 5: Allegro con brio' and track 5 labelled 'Mozart: Symphony No. 40: Molto allegro'. This would make the composer name something that is track-specific, and that breaks Axiom 8.

Axiom 9: TRACKNUMBER always starts at 1

When you rip a multi-work CD, as just described in discussing Axiom 8, you will end up with separate works ripped into separate physical folders (because only that way can the same ALBUM tag be applied to each without being inaccurate in any case). That means you'll be ripping (say) tracks 1 to 4 into the Beethoven Symphony No. 5 folder and tracks 5 to 8 into the Mozart Symphony No. 40 folder.

Axiom 9 states that TRACKNUMBER must always start at 1, no matter what the track number on the original CD may have been.

In other words, just as Beethoven's Symphony No. 5 has a Track 1 - Allegro con brio, so Mozart's Symphony No. 40 must have a Track 1 - Molto allegro.

Practically and functionally, the four movements of Mozart's symphony could be numbered 73 to 76 and no-one would particularly notice or mind! Music players will play what they're told to play, and so long as the track numbers increment appropriately, all four movements will get played in order regardless.

But philosophically, I insist on 'every composition starts at track 1' because it's important to break the nexus people seem to assume exists between compositions and the pieces of plastic they are shipped to us on. That Beethoven's 5th and Mozart's 40th share a piece of physical, silvered polycarbonate and a printed booklet is as relevant as the fact that my birthday card came in a brown envelope. It's the card that counts, not the envelope! In the same way, the physical CD is merely an envelope, and it's the fact that you own Beethoven's 5th and Mozart's 40th -two entirely separate compositions- that your music library should celebrate and be organised around.

Thus, each composition is unique and separate …and deserves to have its first movement start at number 1.

Axiom 10: TITLE should be //musically// factual, not full of extraneous detail

When it comes to track titles, people often seem to lose their heads. I've seen this sort of thing:

Act III, Scene 1: Addio mio (Elvira, aria with chorus, in front of the temple)

So, first thing to say, we're merely listeners of music, not theatrical impresarios: we don't need stage directions, characters names, mis-en-scène or any of the other nonsense you see in this (made-up) example. To know whereabouts you are in an opera (which Act, which scene), follow the libretto and work it out from there: your music player probably doesn't have the screen width to tell you properly anyway (most of the above will get truncated if you try playing it on your phone, for example!). If you are wondering whether Elvira is stabbing someone or praying before the temple -read the libretto and learn the damn opera! Don't use your music player as a prop for things you should be studying, learning about and remembering from elsewhere!

The correct tag for this track is actually Addio mio… and the only reason, really, we need this much information is just as a minor checkpoint on the way through the entire work, we can match up what we see in the TITLE tag with what we hear and know where we are within the 76 tracks that make up this opera. We use TITLE as 'touch points', little re-assurances to let us know approximately how far we've come and how far we still have to go. They are not designed to be encyclopædic entries of exactitude, letting you stage-direct the thing in your head! Nor are they supposed to contain every tempo nuance that might take place within a symphony's movement. Read the score for that sort of detail!

In general, and in principle, the TITLE tag should be the first line of the words being sung at that point, or the tempo marking associated with that movement, or whatever other musical fact it makes sense to draw attention to.

So, no full-on lyrics. No full-on tempi changes listed to the n^th degree. Keep it simple, stick to musical facts (or, when words are involved, simple lexical facts) -and keep them basic and highly functional. Let your ears tell you if it's Elvira or Don Juan singing, a chorus or an orchestra interlude. Use a score to find out more detail about whether it's Allegro at bar 67 or Adagio at bar 134: your music collection/database is not the only source of information on the planet, so you don't have to cram everything into it, just in case!

There are obviously exceptions to this. I personally always tag the first track of a new Act with the relevant Act number. So, you'd see this sort of thing:

Track 01 :   Act 1: Overture
Track 02 :   Oh caro, la gamba della mia signora è fasciata
Track 03 :   Devo preparare un bagel
Track 04 :   Ma che diavolo è questo pan di zenzero?
Track 05 :   Act 2: Entr'acte
...

…so that you periodically get a check of where you are in the big scheme of things, but you don't bog down every track with extraneous dramaturgical detail.

It's also the case that, in obeying Axiom 5, I may well have omitted some technical details. The TITLE is a place where I might put them back. For example, if I've tagged a single-track work with ALBUM=Symphony 13, I might fill the TITLE with 'Symphony No. 13, Op. 61: Allegro - Lento - Presto“, so that the opus number finally makes an appearance somewhere in the metadata. Generally, though, I find the opus number is usually not worth bothering in any context. I only ever specify it in the TITLE tag when the TITLE tag would otherwise exactly duplicate the ALBUM tag.

Summary So Far

I think I should now summarise the first 10 Axioms so that we're clear about everything up to this point:

Axiom 1: There are eight tags you must have; all the rest are optional or downright not wanted
Axiom 2: Artist=Composer
Axiom 3: Comment=List of all performers, in a specified and consistent comma-separated order
Axiom 4: Genre=A one-word subdivision of a composer's works into usable chunks
Axiom 5: Album = Composition Name (Artist - Year)
Axiom 6: Performer = Distinguishing Artist's full name, with no punctuation or elaboration
Axiom 7: Year=Approximate (or known) year of recording, in four digit format, no specific dates
Axiom 8: Axioms 1 to 7 apply composition-wide; only 9 & 10 are track-specific
Axiom 9: Every composition should start with a track number 1
Axiom 10: Track titles are for abbreviated music facts, not dramatic details or musicological tours de force!

Having got those out of the way, I now want to specify a handful of more 'nuanced' Axioms -meaning that I think they are self-evidently true, but they are fundamentally a matter of taste and your taste might not be mine! But I want to emphasise that my 'taste' has been refined from over two decades of having to live with the results of my tagging handiwork, so I think there might be a 'compelling truth' to them, too

Axiom 11: There is no place for a Disc Number

Some CD rippers offer to put a 'disk number' tag in, or a 'CD number'. Axiom 11 states that your music files should never contain a disc number or anything equivalent.

Disc numbers only make sense in a world in which you've got (for example) Götterdämmerung Disc 1, Disc 2, Disc 3 and Disc 4. And that only makes sense in a world of physical CD media. In the world of digital media, you'd rip all four disks, label them sequentially from track 1 to track 54, and call the whole set 'Götterdämmerung'. Which is to say, there are no discs in digital music and it's therefore silly to tag your tracks up as coming from particular pieces of physical media that, the moment you've ripped them, you know nothing about and care less.

Never supply a disc number or anything that resembles it: that way, attachment to physical media lies (and see Axiom 9 whilst you're at it: you need to break this nexus between physical media and the music you listen to!)

Axiom 12: Composers were people with more than just surnames!

If you ever listen in to classical music fans talking about their favourites, you may just think you've been transported back in time to an Edwardian public school. Though instead of 'Smythe did well this year at cricket' and “Oddknob is doing well at Latin, but Grimshaw got sent down early for spiking the Governors' Day punch”, you'll hear things like 'Mozart's 40th is wonderful' or 'I can't be doing with Bruckner's 6th'.

Composers were (shocking fact, I realise) people… and they had names. Full and wonderful names that (usually) consisted of at least one first name and a surname… and referring to them only by their surnames is, in my view, rather reductionist.

So, Axiom 12 states that you should always refer to, and tag, your COMPOSER and ARTIST with the composers full name, not just their surname.

So it's not Mozart, but Wolfgang Amadeus Mozart; not Britten, but Benjamin Britten; not Beethoven, but Ludwig van Beethoven.

Now, sometimes this can get a bit awkward. Is it really “Wolfgang Amadeus Mozart” when he regularly signed himself Wolfgang Amadé Mozart? Is it really Benjamin Britten when he was christened Edward Benjamin Britten? Is it Franz Joseph Haydn, or just Joseph Haydn?!

Well, we can discuss angels and heads of pins all day on this one. My suggestion is that you call them by their full names, as they themselves used them, unless everyone else has disagreed with them! That is, we drop Britten's 'Edward', because he did, and no-one contradicted him on the matter. But we don't call Wolfie 'Amadé', because that's French, he was Austrian, and we're not that silly: since Peter Schaffer bought up all the shares in him, he's been Amadeus to man, woman and child of elves yet born. And so on: respect their wishes, but don't go overboard about it, basically

At the end of the day, the referee is -or should be- the New Groves Dictionary of Music & Musicians. And at a mere £1000 a pop, I'm sure you'll agree… that's it's not exactly a practical referee for most of us! Fortunately, I was able to pick up a cheap copy of the 1980 edition and have created a list of “valid” composer names from it, available for absolutely no effort and less money from here. Take your composer names from that list and you'll be doing it 'right'!

Using full names for composers can be alarming at first. You'll be searching for your Beethoven under 'B', when it's actually filed under 'L', or your Mozart under 'M' before realising it's now under 'W'. But you will swiftly learn …and a side-benefit is that, I believe, you will come to feel more for, and sympathise with, Wolfgang rather than 'Mozart' or Ludwig rather than 'Beethoven'. There was a reason Edwardian public schools called boys by their surnames only: and it wasn't to increase the warm-and-fuzzies about their individuality and personality!

Axiom 13: Be Grammatical!

This axiom is aimed at anyone who Would Want To Tag Their Music Files As Allegro Con Moto, or Molto Espressivo Con Largamente.

You don't write In InitCap Mode Like That In Your Daily Life, so why on Earth would you think it appropriate to do so when tagging music files?!

Well, I'll answer that: it's because the entire music industry is so fundamentally ignorant about the subtleties of classical music that they think that's how it's done. It's how you end up with pages from Discogs looking like this:

We'll draw a veil over the need to mention 'First Movement' or 'Second Movement' (when you've already got track numbers 1 and 2 to tell you such things!). Just look at the tempo declarations here: “Allegro Con Brio”, “Andante Con Moto” and so on. It's appalling. It's the ill-educated peasant come to the Italian Literature ball. Do Not Tag Like This Ever.

Where it gets really stupid is in German, because in German a capital letter indicates not only the start of a sentence, but also the presence of a noun. So if you start throwing capital letters around, the German text suddenly becomes unintelligble. It would Mouse be Mouse as if Mouse every Mouse third Mouse word in Mouse English was a noun Mouse of some sort. It makes no sense. Please don't do it.

If you don't know how to write proper Italian tempo markings (and it can get complicated, I grant you), then at least recognise your 'Allegros' from your 'cons'. Know your adjectives from your prepositions. And if in doubt: look it up in reputable sources (such as IMSLP) that can show you the actual scores for free. What the composer has seen printed is probably a good indication of what the actual capitalisation should be.

Ultimately, of course, it's your private music collection and no-one else need ever see your degree of musical illiteracy if you don't want them to. But if you care enough about classical music to want to do the job properly -then Axiom 13 simply states: tag grammatically.

Axiom 14: Non English-speakers use diacritic marks. So should you.

Wagner didn't write Gotterdammerung, but Götterdämmerung. If you don't yet know how to use your computer to type accented letters quickly, learn how to. Given all the Germans, French, Spanish and Italians who have been writing classical music all these years, it's pretty essential to be able to do so, I think.

On Windows, you need to learn your foreign character 'numbers' (so that typing Alt+223 on the numberpad will give you ß and Alt+252 gets you ü, for example). Failing that, you can install the completely free WinCompose software, which allows you to type a special key, plus a punctuation character, plus a letter to achieve the desired result. Thus, right-alt plus “ plus o gives you ö, and so on.

On Linux, that sort of WinCompose functionality is already built in to most desktop environments (though it might need enabling). Having enabled a 'compose key', you use it to initiate punctuation+character key sequences that end up producing properly accented characters. Thus compose-key plus / plus o gives ø, whereas compose-key plus s plus s gets you ß. And so on.

Sort of related to Axiom 13, too: don't just make one diacritical mark do duty for others just because you don't know how to type the right one! It is, for example, più moto not piú. Put the accent round the wrong way and you're now being ungrammatical in Italian!

There are limits, however, bounded by common sense. Whilst you, like me, might be fluent in Russian (or unlike me in Japanese), don't go tagging your Boris Gudonov recordings in Cyrillic or your Japanese song-cycles in Kanji! It is not likely to be useful …but it does look a bit pedantic and too-clever-for-its-own-good! (If you're a native Russian or Japanese classical music listener, feel free to ignore this advice, of course!)

In short, Axiom 14 states that you should type foreign characters correctly when they appear, not make do with approximations or just miss them out and hope it doesn't really matter. The rider is: don't go overboard and start tagging things in non-Latin alphabets in their entirety.

Axiom 15: Don't be Obvious

A Flute Concerto, by virtue of it being a Flute Concerto, is obviously for flute. And by virtue of it being a Concerto, it's equally obviously going to be for orchestra. So tagging it as “Concerto for flute and orchestra” is pointlessly redundant. “Flute Concerto” tells us everything we need to know in three less words. The main reason, indeed, for not getting too wordy (apart from it being slightly pretentious) is that whilst screen real estate is abdundant on a PC or laptop monitor, on many playback devices, screen real estate is very constrained and thus space is at a premium, to be used carefully. Consider one of those vacuum flourescent displays that show the track title, and scroll it from left to right, for example: you'll be waiting for Christmas before the word 'Flute' comes up if you've chosen to mention the 'Concerto for' bit first. On a smart phone, things can be even worse:

You tell me what is the primary instrument in the first two concertos mentioned on the top line here? From the displayed text, you know it's a concerto of some sort; if you know your RV numbers, I guess you could work out the more precise details from what's displayed. But if you don't know your RV numbers from your BWVs, what sort of concerto is it? Basically, you cannot tell. On the bottom line of that screenshot, however, even apart from the album art giving you a pretty hefty clue that a violin is involved, you can readily tell, just from the text, that it's a violin concerto.

If brevity is the soul of wit, so it is also the heart of efficient tagging. Thus, Axiom 15 states that you shouldn't mention things which don't need mentioning because they're already implied: it just takes up room unnecessarily!

Other examples that come to mind would be tagging 'Otello' as 'Otello: An opera in 3 acts' (it's Otello: we already know by implication that it's an opera), or 'Symphony No. 9 for Orchestra and Chorus' (it's a symphony: we already know an orchestra will be involved, though the chorus is maybe a bit more of a surprise. But once we know the composer is Beethoven, even that element of surprise becomes something implicitly obvious).

A corollary to this Axiom is that if you do state something, state it using a word-order that provides as much criticial information up-front as possible. So 'Violin Concerto' is better than 'Concerto for Violin', because the crucial detail about which solo instrument this concerto was written for is being shunted off to the right in the second example, but is up-front and as left as it can be in the first. Word order is important: make the early words in a tag count for more than the later ones, basically.

Axiom 16: Album Art is important

This is sort-of related to Axiom 15, in that we've seen there how sometimes players don't display all the text we'd like them to display and that can leave us guessing!

But if a picture is worth a thousand words, then a good bit of album art can make up for a lot of truncated text tags! Apart from anything else, many of us will recognise and respond to the picture of a CD cover long before we've managed to read the text telling us what album it is: it's just the way the human brain is wired.

So, Axiom 16 states that album art is so important that you should strive to acquire it in good quality and at a decently-large size and then embed that art within the music file itself.

In terms of quality and size, I would say that 500×500 pixels is a usable minimum, but you should preferably be aiming for around 1000×1000 or bigger.

The little rider to this axiom in italics above is also critical: do not rely on files called 'folder.jpg' to act as your album art (as is commonly done on Windows, for example). Such independent files can be over-written, corrupted, deleted or somehow become separated from your music when you copy or move it around your file system. It is always much better to embed the album art into the FLAC file itself, so that it's essentially just another tag of data and has no independent existence. Most tag editors will allow you to subsequently re-export such embedded artwork back out to the file system as an independent file if you really need it later on, but all the while it's embedded, it's an integral part of the FLAC file, and it therefore automatically goes along for the ride when the file is moved, copied or converted. It's a much safer way of storing your album art, basically.

Axiom 17: The Physical Structure of your music library should match your Logical Structure

This is potentially one of the most important axioms, really. It's not so much to do with how things look, whether they are spelled correctly and use the right letters. It's much more profound than that.

Put simply, you have tagged your music with composer/artist, then genre, then extended composition name, and finally with track numbers and titles. Axiom 17 simply states that every one of those 'tags' should be matched in your file system by an equivalent level of folders.

It doesn't sound much, but it means that when navigated via your file manager, your folder structure should match your logical tag structure pretty much exactly. For example:

As you can see, I get to my composers via an 'initial letter folder', so the 'Harolds' and 'Hectors' are kept distinct from the 'Benjamins' and 'Igors'. But after that, it's pretty much the tag structure that was described in my primary key article: Composer → Genre → Album → Track Number → Title.

The reason for this is simple, but quite profound: if these elements make up the logical way to uniquely identify any given recording, then they should be capable of physically doing so as well: and there are definitely times when you will want to be able to switch between the logical and physical models. The logical model is great for media players that build libraries of your music, such as Strawberry, Clementine or Foobar2000: they abstract the metadata tags into a navigable 'music tree', where you navigate through the 'leaves' to get to the music you want to play. But sometimes, you will want to use your operating system's file manager to navigate through your music… and then it really helps if the physical 'leaves' are exactly where you're used to finding them logically.

Now, I do occasionally make exceptions to this rule, in that I sometimes add physical folder levels that have no counterpart in the logical world. Usually, I do this when the music quantities involved are otherwise huge, and the sub-division by genre isn't sufficient to break things out into small enough 'chunks'. For example:

I have so many Mahler symphony recordings that I've had to group them physically into 'cycle folders', identified by the conductor name that's making the recording. There is no logical tag that mirrors this physical grouping into 'recording cycles', so here you're looking at a physical level of organisation that has no counterpart in the logical world.

But… it's rare for me to do this in the first place, and it works specifically this way round only. I do not have, nor would it be acceptable to have, for example, a grouping function by logical metadata tag that isn't reflected in the physical folder structure on disk.

Anyway, Axiom 17 states that whatever logical metadata you apply to your music file tags should be reflected in the physical organisation of your music on hard disk.

A corollary to this axiom is that you should never use the ”/” or “\” characters in any metadata tag -hopefully for reasons that are rather self-evident! Since those characters mark the folder delimiter on Linux and Windows filesystems respectively, having them in your logical metadata risks creating extra levels of physical folder hierarchy if you ever use the logical data as the basis of a physical re-organisation of your files on disk. This is something quite a lot of tagging software permits: dbPoweramp on Windows does, for example. They take your tag data and use it to create folders on disk and move your music files into the appropriate folders for you, entirely automatically. Unfortunately, if in doing this they encounter a “\” or a “/” in the tag data, they may well create a sub-folder where you weren't expecting them to do so.

Thus, another corollary to Axiom 17 is that you should never use 'compound tags', split by “\” or “/” characters. Hence, a genre of “Orchestral/Symphonic” or “Choral/Mass” would never be acceptable. They imply a physical ordering or folder organisation that is at odds with the logical ordering, and Axiom 17 mandates the two should, mostly, be identical.

An Axiomatic Conclusion

So I want to draw breath at this point and remind you of all the axioms: 10 'hard-and-fast' ones and 7 'matter-of-taste ones, but they make sense anyway' ones.

Axiom 1: There are 8 tags you must have; all the rest are optional or downright not wanted
Axiom 2: Artist=Composer
Axiom 3: Comment=List of all performers, in a specified and consistent comma-separated order
Axiom 4: Genre=A one-word subdivision of a composer's works into usable chunks
Axiom 5: Album = Composition Name (Artist - Year)
Axiom 6: Performer = Distinguishing Artist's full name, with no punctuation or elaboration
Axiom 7: Year=Approximate (or known) year of recording, in four digit format, no specific dates
Axiom 8: Axioms 1 to 7 apply composition-wide; only 9 & 10 are track-specific
Axiom 9: Every composition should start with a track number 1
Axiom 10: Track titles are for abbreviated music facts, not dramatic details or musicological tours de force!

And:

Axiom 11: Never use a disc/disk/cd number tag. We don't use physical disks any more
Axiom 12: Catalogue by composers' first name, not their surname
Axiom 13: Be musically grammatical and never tag using InitCaps, nor lard your tags with non-musical information
Axiom 14: Use diacritics for all standard Western European languages. Approximating them or ignoring them isn't appropriate.
Axiom 15: Be musically literate: if a term (e.g., concerto) implies things, don't spell out the obvious (e.g., orchestra)
Axiom 16: Get good album art and embed it within your music files
Axiom 17: Let your physical folder structure mirror your logical ordering/grouping of music files, and vice versa

2.0 Some Discussions

The Axioms should clear up a lot of grey areas about how to tag, but some will inevitably remain. It is great, for example, to know what the ALBUM tag should have within it (see Axiom 5), but… what counts as a composition in the first place?! Additionally, it's nice that Axiom 1 says 'don't use ALBUM ARTIST'… but why not? So here are a few more generalised, fluid thoughts on matters tagging.

2.1 What's an Album?

So, Axiom 5 says 'that the ALBUM tag is to store the extended composition name'. And, by reading my other article about what is the primary key for recorded music, we learn that the extended composition name is composition name+conductor's surname+recording year.

But what counts as a 'composition' or an 'album' in the first place?

If Mozart doodled 3-bars of harpsichord one day as a 5-year old, does that really count as a “composition” in its own right? And what about this real-world example:

Here we have a CD containing a collection of folksongs 'arranged' by Benjamin Britten. He was a serious composer; these are a substantial body of work, produced over a period of several decades, and with nothing actually tying them together as an 'integral work of art', except for the fact that on this occasion Peter Pears is singing them all, accompanied by Britten at the piano. So, 'The bonny Earl of Moray' is definitely a composition in its own right (dating to about 1943, according to the Britten Pears Arts Integrated Catalogue). But does it count as an album in its own right, or not?

And as a recent correspondent wrote: what about the 555 Scarlatti sonatas? Do they count as 555 separate 'albums' or not? They are certainly 555 separate compositions, but do they count as significantly different from each other to warrant treatment as separate 'albums'?

In all these examples, I'm going to argue that Mozart's doodle, Britten's folk song settings and Scarlatti's sonatas do not count as significant compositions in their own right, sufficient to warrant them being tagged up as separate albums. But: there is no hard-and-fast rule about this.

I'l give you yet another perspective from personal experience: the works of Percy Grainger. When I first ripped his complete works on Chandos, I took every composition as an independent work (and hence tagged up as a separate album), so long as it was longer than a few minutes (fragments of music are seldom going to count as 'albums', after all). So, as long as it was over about 5 minutes long, it got ripped as a separate album. But once I got a bit familiar with Percy Grainger's music, it soon became abundantly clear that all of it was incredibly …er…. “similar”! There really wasn't a lot to distinguish 'Colonial Song' from ' Shepherd's Hey', in one's head: they were both nice pieces, but they were -fundamentally- merely bricks in a wall of Graingerism. They had no independent significance, despite their individual lengths sometimes ranging from 8 to more than 10 minutes. I think if I was more 'into' Grainger, I would be able to keep each piece separate and distinct in my head -but for me now, there was no point in regarding even lengthy compositions as separate works (and hence as individual albums). In fact, the proliferation of lots of little pieces by Grainger meant I seldom chose to play him: in my music player, there was this huge list of Grainger recordings and choosing any one of them made about as much sense as choosing to listen to any other. So I generally didn't bother at all, which was a shame.

So, recently, I re-ripped the many CDs of his complete works into 19 separate 'albums', each comprised of a dozen or more of his 'compositions', definitely breaking the nexus between composition=album. I ended up with 19 'sets' of Grainger, rather than about 200+ compositions by him -and it's much easier to settle down for an hour of Grainger than for 6 minutes of this, then select another 8 minutes of that… and so on. By re-aggregating Grainger's music, I've made choosing it to listen to a lot easier and pleasanter. I listen to him much more now than before as a result.

My point, really, is that there's no answer to 'what counts as an album', because it depends on a number of factors, such as:

length
significance
uniqueness or distinctiveness

Anything less than 5 minutes in length really needs to excel in the unique and significant stakes for it to be worth regarding as an 'album' in its own right. But then it all depends: if a piece of music has taken on a life of its own as a singularly well-known work, it might count as an album all on its own. It's why Grainger's Handel in the Strand is still a 'standalone album' in my collection, and not subsumed into the 19 other 'Grainger Orchestral works' albums I've got catalogued.

Uniqueness is even harder to define and your own personal experience will affect the outcome. For me, something like Britten's Festival Te Deum is a unique piece of composition (since I sung it in Lugano Cathedral!) and nothing would persuade me to combine it with a pile of other works and call it 'Britten Choral Works' as an album, for example.

I think the fundamental question to ask, really, is “do I think of this uniquely and separately and of intrinsic importance. Or does this piece only gain its significance because it's part of a combination of other pieces?” If it's capable of standing on its own feet as a significant work of art, catalogue it separately as a distinct “album”. If it only makes sense in the context of a lot of other pieces, catalogue them collectively as a single 'theme' album.

So looking at those Britten folksongs earlier: some of them are quite long. Look at Tom Bowling for example: over four minutes long. But does it get its 'significance' from being a substantial composition by Britten over four minutes in length, or because Peter Pears is singing it as part of a 21-track combination of British folksongs? In my view, it's the latter: and therefore, I'd tag the lot as a single 'British Folk Songs (Britten - 1963)' album.

Here's another example of the same sort of problem.

This is an example of what I'd call a 'mood CD'. You get 'Medieval Christmas' albums; or 'Spanish Renaissance Wind Band' albums; or, as in this case, 'Music for Christmas' albums. Mood CDs, as this one does, often have quite substantial compositions from different individual composers, all mashed together to create an overall 'theme' or 'mood'.

So: look at track 6: Morten Lauridsen, O magnum mysterium, lasting for a whopping 8 minutes. Or Peter Warlock's Bethlehem Down, lasting for nearly 6 minutes. These are not trivial compositions -and in at least one case, not by trivial composers, either. Don't they count as 'separate compositions' and thus rippable as separate albums?

Well, they could. And if you made that call, I couldn't complain, really. But when I came to rip this CD, I decided that none of the pieces really had the heft to stand on their own. Their significance was derived from the cumulative impact of them being part of a wall of Christmas-sounding music. Rip them out of that context, and they would lose significance.

Therefore, I ripped the entire CD as a single album, and attributed it to a composer called 'Compilation'.

And this is the only instance in which music may be legitimately attributed to a non-existent ARTIST or COMPOSER. (Actually, there is another instance: P. D. Q. Bach never really existed, but he's in my collection as though he did! But I digress…)

Mood CDs will always trip over this fact. It's why I try to avoid buying them! But where a symphony belongs to Mozart, or a concerto belongs to Haydn, a mood CD will generally belong to someone called “Compilation”.

Now, it happens that the TITLE tag can then contain details of the actual composer of each piece within the mood CD. That's fine. But I wouldn't attempt to elevate any of the compositions on this 'Christmas Swoon CD' onto the same plane as a Beethoven Symphony or a Bach cantata.

2.2 Why no ALBUM ARTIST?

The ALBUM ARTIST tag was created for non-classical music listeners to be able to deal with 'compilation' albums, where tracks on the same CD would be written or performed by different people. In these cases, they'd use ARTIST to say who was performing a specific track (and it would change as the tracks changed) and then use ALBUM ARTIST to say the disk belonged to 'Various Artists'.

We have no equivalent concept of this sort of thing in classical music, however. Though we buy CDs, which may package the works of multiple composers onto one disk, we do not deal with the CD as a whole, once we've ripped it -because, as separate digital files, the separate compositions can be housed in unique folders. Each folder then becomes an album, and each album is then composed by a single composer. We may therefore apply the composer's name to the ARTIST tag, and can do so across the entire 'virtual album': it doesn't change on a track-by-track basis. We therefore have no need for an over-arching 'Album Artist' to group things together, since our 'albums' are grouped by a proper composer's name already.

The only time you might argue we need Album Artist is, therefore, when discussing the sorts of 'mood albums' I've discussed earlier in Section 2.1: attribute William Mathias, Hector Berlioz, John Tavener and the rest to ARTIST and then say the ALBUM ARTIST is 'Compilation'? Well, personally I'd set ARTIST to 'Compilation' and mention Matthias, Berlioz and the rest in each track's TITLE… and there's a technological reason for doing this. Putting it bluntly, you never know what a media player will display when it has both an ARTIST and an ALBUM ARTIST tag to worry about.

By way of example, consider a track of Beethoven's music which has “Ludwig van Beethoven” in the ARTIST tag and “Herbert von Karajan” in the ALBUM ARTIST tag (quite a lot of classical music listeners seem to think conductors are a good idea in the ALBUM ARTIST tag, so let's just run with that for now).

Here is how Foobar2000 deals with this twin-tagging strategy:

Basically, it ignores it. Over on the left panel, the music is attributed to Beethoven and Karajan is nowhere to be seen (except by surname in the extended ALBUM tag). The ALBUM ARTIST tag is certainly there: you can see it over on the right-hand side of the display, one line up from the bottom… but the main display panel on the left is entirely oblivious to its existence.

But take a look at what Winamp does with the exact-same file:

This time, the work is by Herbert von Karajan and you can't even tell it's a piece of Beethoven at all! So, use a different music player and now get ARTIST ignored and ALBUM ARTIST displayed. Finally, let's try another WIndows music player, in case Winamp is just being 'weird'!

Here's Windows Media Player:

Even though I've clicked 'Artist' in the left-most pane, it's displaying 'Herbert von Karajan' as the person of interest in the music display area over on the right. Once again, the fact that Beethoven is involved is nowhere to be seen.

The short version of this is that a tagging strategy is a long-term thing (you don't want to be re-tagging 60,000 files 20 years after you started collecting them!): what you decide to tag today should be capable of doing duty for the foreseeable future, no matter what music devices you use and stop using; no matter what operating system you use or switch to; no matter what music playing software is hot today and cold tomorrow. And, fundamentally, if you tag both ARTIST and ALBUM ARTIST, it becomes a matter of pot-luck what will actually be displayed. One software update later, or a switch of operating system environment, and bang! What you're used to seeing displayed may change completely. This sort of randomness is not desirable, and apart from the fact that we don't need an ALBUM ARTIST in classical music, it means that you simply shouldn't use the ALBUM ARTIST tag at all.

2.3 Composer Names

I'm never quite sure why people are so reluctant to think 'Wolfgang' not 'Mozart', or 'Edward' rather than 'Elgar'. But they seem to, and I think that's a shame and why Axiom 12 states that composer names should be entered in full and not just as surnames.

I want to add at this point, however, that what people think of as 'composer names' has frankly astonished me in the past. You will see serious advice, seriously offered, by sincere people, to tag Artist (and hence Composer) as, for example, BRITTEN, Benjamin (1913-76). Or Bach, JS. Or Mozart. So I want to be very clear about this: composers have natural names. Use them in full. Use them with normal capitalisation. But leave out material that's best read in biographies.

By this, I mean that the correct tag for works by Benjamin Britten is “Benjamin Britten”. By Bach, it's “Johann Sebastian Bach”. By Mozart, it's “Wolfgang Amadeus Mozart”. Natural names, naturally spelled and using natural word orders!

Natural word order is important because there's absolutely no need to mangle word order in order to get a computer to find works by Britten, or to sort them all together. A computer will find 'Britten' whether you've entered it as “E.B.Britten” or “Britten, Benjamin” or “BRITTEN,Benjamin” or “Britten, Edward Benjamin” or even as “Baron Britten of Aldeburgh”. There's thus simply no need in the digital age to use the reversed word order beloved of old-school librarians and old-fashioned card indexes, nor to introduce all-caps capital letters where none are ordinarily required.

I strongly recommend you use a composer's full name as ordinarily and commonly used by the composer himself. Thus, technically, it's Franz Joseph Haydn -but neither Haydn himself, nor his family, nor his friends ever used the 'Franz' bit: it was simply a custom of the time to give a baby two saints names as first names and then to forget one of them. So it's Joseph Haydn to you and your musical collection, just as it was to Papa Haydn himself. For the same reason, it's not Edward Benjamin Britten. And although Mozart commonly called himself 'Wolfgang Amadé Mozart', the 'Amadeus' usage is now so commonplace that it would be churlish not to use it. Whatever you do, don't, for heaven's sake, start using his actual baptismal names: Johannes Chrysostomus Wolfgangus Theophilus Mozart is a mouthful too large to swallow!

For the same reason, don't use a composer's titles or honorifics. Vaughan Williams was immensely proud of having obtained a doctorate in music and accordingly frequently liked to be addressed (and signed letters) as “Dr. Vaughan Williams”… but don't go calling him that in your music library. Edward Elgar, for the same reasons, loses his knighthood. Titles and honorifics go, really, for two reasons: they disrupt the expected sort order (you expect to find Elgar's music amongst the other 'E' entries, not the 'S' it would be filed under if he was tagged as 'Sir Edward Elgar'. Secondly, most people simply don't think of them when they bring a composer to mind. People think of 'Vaughan Williams' or 'Ralph Vaughan Williams' or 'Ralph'… seldom do they think of 'Doctor', let alone of the 'O.M.' honorific he was entitled to use after 1935. I suppose that's the third reason for missing them out, too: often, a composer only got to use a title or honorific for part of his life. Poor Ben Britten was a Lord (or Baron, if you prefer) for only the last six months of his life, after June 1976. Tagging stuff he composed in 1936 with 'Baron Britten of Aldeburgh' is anachronistic (and pretentious!)

I will grant that there a couple of exceptions to this general 'no titles' rule: Lord Berners gets catalogued as Lord Berners, because no-one really knows him as anything else. His real name was Gerald Hugh Tyrwhitt-Wilson, but not only is that a mouthful, no-one will have the slightest clue who you're talking about if you use it. So Lord Berners gets to keep his title. Sir John Blackwood McEwan also retains his knighthood, because the title is always and invariably used when discussing him or his works (Britten's baronetcy isn't, in contrast).

To try to help standardise on what I consider to be 'correct usage' of composer names, I've created a listing of every composer I have in my music collection (about 622 of them at the last count), and I recommend you follow at all times. It's not exhaustive (that is, it doesn't claim to list every single composer who has ever lived), but it is aiming to be prescriptive (that is, if you want to tag music by Janacek, for example, it aims to prescribe the fact that you should tag it as Leoš Janáček, complete with all the appropriate diacritic marks).

Following this advice will, of course, mean that your Mozart music will now be filed under W; your Prokofiev will end up under 'S' and your Beethoven will be filed under 'L'. This is undeniably true and some people seem to hate this ordering. I can only suggest you persist: it's actually good practice to get to know your composers well, and getting to know them by their first names seems the least you can do in that regard! Remember, too, that the computer is your friend: whilst your Mozart might be listed under 'W', you can always find it using your media player's search capabilities and typing in just 'Mozart'.

Remember, too, that everything I've just said about composer names applies to the Artist tag too.

2.4 Searching by COMMENT

I've had people complain about my Axiom 3 (that all performer details should go into the COMMENT tag) on the grounds that the data is not usable or discoverable there. This is simply not true for any music player with which I'm familiar, however. Even iTunes can search the COMMENT tag if you first make it visible as a displayed column on the main playlist view.

As a case in point:

There seems no obvious reason why Debussy's Flute Sonata should be listed when I search for 'Robles' at the top of the screen, over on the left. But an inspection of the metadata associated with that music, over on the right, shows that Marissa Robles was the harpist on that particular recording. She presumably harped on the Handel, Rodrigo and Dittersdorf recordings, too (she did, I just checked!)

So, everything you put into the COMMENT tag is most definitely usable by every music player on the planet -and if it's not by the player you happen to prefer, it's time to invest in some different music-playing software!

Of course, for COMMENTs to be useful, the data in them needs to be entered in a consistent manner. If you tag one recording up as being performed by the 'Berlin Philharmonic', don't expect to find it if you start searching for “BPO” or “Berlin Philharmoniker Orchester” and so on. The Vienna Phil and the Wiener Philharmoniker might be the same thing to you and I, but they are completely lexigraphically different to a search engine. So, above all else, be consistent.

3.0 Conclusion

I get that when you read this long list of 'axioms', it can look and feel pretty daunting, if not petty and trivialising. After all, you listen to classical music because you like the music, not because you like observing nit-picking rules. I can only urge you to imagine what it would be like trying to 'like' the British Library if they didn't have a damned good index card system that references every book they own, and let's you find one easily by simple organisation of data. A good card index makes literature discoverable. A good, consistent and logical approach to tagging your music files makes the gloriously diverse world of classical music discoverable for all time thereafter, too.

I commend these 'rules' to you, to apply in your own tagging jobs, not because I like petty rules but because I know applying them has made my extensive music collection highly usable over decades, in other words.

bachcat

Anonymous (anonymous@undisclosed.example.com) — 2026-01-22T21:26:53+00:00

Johann Sebastian Bach Cantatas

BWV	Work	Type	NBA	Performance Date	Epistle	Gospel	Full score
0001	Wie schön leuchtet der Morgenstern	Sacred Cantata	Volume 11, page 435	Feast of the Annunciation (March 25th)	Isaiah 7, v. 10 – 16 (The prophecy of the Messiah’s birth)	Luke 1, v. 26 – 38 (The angel Gabriel announces the conception of Jesus to Mary)	BWV 0001
0002	Ach Gott, vom Himmel sieh darein	Sacred Cantata	Volume 6, page 347	Second Sunday after Trinity (May/June-ish)	1 John 3, v. 13-18 (on the need for Christian brotherly love)	Luke 14, v. 16-24 (Parable of the great supper)	BWV 0002
0003	Ach Gott, wie manches Herzeleid	Sacred Cantata	Volume 2, page 579	Second Sunday after Epiphany (mid-January)	Romans 12, v. 6-16 (The duties expected of us)	John 2, v. 1-11 (The wedding at Cana)	BWV 0003
0004	Christ lag in Todes Banden	Sacred Cantata	Volume 4, page 25	Easter Day (late March/mid-April)	1 Corinthians 5, v. 7-8 (Christ our Passover is sacrificed for us)	Mark 16, v. 1-8 (The women discover Jesus is risen)	BWV 0004
0005	Wo soll ich fliehen hin?	Sacred Cantata	Volume 9, page 537	Nineteenth Sunday after Trinity (Early October)	Ephesians 4, v. 22-28 (Put off the old person and become the new)	Matthew 9, v. 1-8 (Curing the man sick of the palsy)	BWV 0005
0006	Bleib bei uns, denn es will Abend werden	Sacred Cantata	Volume 4, page 181	Easter Monday (late-March/mid-April)	Acts 10, v. 34-41 (Peter preaches)	Luke 24, v. 13-35 (Christ appears on the road to Emmaus)	BWV 0006
0007	Christ unser Herr zum Jordan kam	Sacred Cantata	Volume 12, page 47	Feast of St. John the Baptist (24th June)	Isaiah 40, v. 1-5 (Prepare the way for the Lord)	Luke 1, v. 57-80 (The birth of John the Baptist)	BWV 0007
0008	Liebster Gott, wenn werd ich sterben?	Sacred Cantata	Volume 9, page 131 (1747 version at Volume 9, page 189)	Sixteenth Sunday after Trinity (early September)	Ephesians 3, v. 13-21 (Paul prays for the Ephesians to know the Love of Christ)	Luke 7, v. 11-17 (The son of the widow of Nain is brought back to life)	BWV 0008
0009	Es ist das Heil uns kommen her	Sacred Cantata	Volume 7, page 115	Sixth Sunday after Trinity (early July)	Romans 6, v. 3-11 (If we die with Christ, we live with him)	Matthew 5, v. 20-26 (Righteousness cannot gain you entry to Heaven)	BWV 0009
0010	Meine Seel erhebt den Herren	Sacred Cantata	Volume 11, page 565	The Visitation of the Blessed Virgin Mary (2nd July)	Isaiah 11, v. 1-5 (A rod shall come out of the stem of Jesse)	Luke 1, v. 39-56 (The Magnificat)	BWV 0010
0011	Ascension Oratorio	Oratorio		Ascension Day (May to early June)	Acts 1, v.1-11 (Jesus' Preparation and Ascension)	Mark 16, v.14-20 (The Great Commission and Ascension)	BWV 0011
0012	Weinen, Klagen, Sorgen, Zagen	Sacred Cantata	Volume 4, page 531	Third Sunday after Easter (mid-April/early May)	1 Peter 2, v. 11-20 (Suffer patiently)	John 16, v. 16-23 (You shall be sorrowful, but your sorrow shall be turned into joy)	BWV 0012
0013	Meine Seufzer, meine Tränen	Sacred Cantata	Volume 2, page 619	Second Sunday after Epiphany (mid-January)	Romans 12, v. 6-16 (You are not under the law, but under grace)	John 2, v. 1-11 (Jesus turns water into wine)	BWV 0013
0014	Wär Gott nicht mit uns diese Zeit	Sacred Cantata	Volume 3, page 161	Fourth Sunday after Epiphany (late January)	Romans 13, v. 8-10 (Love is the fulfilling of the law)	Matthew 8, v. 23-27 (Jesus calms the storm)	BWV 0014
0015	Apocryphal - Not by Bach
0016	Herr Gott, dich loben wir	Sacred Cantata	Volume 2, page 239	New Year's Day	Galatians 3, v. 23-29 (We are all children of God by faith in Christ)	Luke 2, v. 21 – 40 (Circumcision of Jesus)	BWV 0016 <a href=
0017	Wer Dank opfert, der preiset mich	Sacred Cantata	Volume 8, page 459	Fourteenth Sunday after Trinity (late August/early September)	Galatians 5, v. 16-24 (The fruits of the spirit)	Luke 17, v. 11-19 (The healing of the lepers)	BWV 0017 <a href=
0018	Gleichwie der Regen und Schnee vom Himmel fällt	Sacred Cantata	Volume 3, page 283 (Weimar version); Volume 3, page 309 (Leipzig	Sexagesima Sunday (late January – late-February)	2 Corinthians 11, v. 19 – 12, v. 9 (Paul explains himself)	Luke 8, v. 4-15 (The parable of the sower)	BWV 0018 <a href=
0019	Es erhub sich ein Streit	Sacred Cantata	Volume 12, page 201	Feast of St. Michael and all angels (29th September)	Revelation 12, v. 7-12 (And there was war in Heaven)	Matthew 18, v. 1-11 (Whoever humbles himself is greatest in heaven)	BWV 0019 <a href=
0020	O Ewigkeit, du Donnerwort	Sacred Cantata	Volume 6, page 159	First Sunday after Trinity (late May)	1 John 4, v. 16-21 (The love of God)	Luke 16, v. 19-31 (Parable of the rich man and Lazarus)	BWV 0020 <a href=
0021	Ich hatte viel Bekümmernis	Sacred Cantata	Volume 6, page 375	Third Sunday after Trinity (mid-June/early-July)	1 Peter 5, v. 6-11 (Cast all your cares upon God, for he cares for you)	Luke 15, v. 1-10 (The parable of the Lost Sheep)	BWV 0021 <a href=
0022	Jesus nahm zu sich die Zwölfe	Sacred Cantata	Volume 3, page 393	Quinquagesima Sunday (February/early March)	1 Corinthians 13 (Faith, hope, charity)	Luke 18, v. 31-43 (Jesus and the Disciples set out for Jerusalem)	BWV 0022 <a href=
0023	Du wahrer Gott und Davids Sohn	Sacred Cantata	Volume 3, page 427 (alternative version with trombones at 3/463)	Quinquagesima Sunday (February/early March)	1 Corinthians 13 (Faith, hope, charity)	Luke 18, v. 31-43 (Jesus and the Disciples set out for Jerusalem)	BWV 0023 <a href=
0024	Ein ungefärbt Gemüte	Sacred Cantata	Volume 6, page 555	4th Sunday after Trinity (late-June/early-July)	Romans 8, v. 18-23 (Present suffering compared to future glory)	Luke 6, v. 37-42 (Judge not, lest you be judged)	BWV 0024 <a href=
0025	Es ist nichts Gesundes an meinem Leibe	Sacred Cantata	Volume 8, page 391	14th Sunday after Trinity (late August to mid-September)	Galatians 5, v. 16-24 (The fruits of the spirit)	Luke 17, v. 11-19 (The healing of the lepers)	BWV 0025 <a href=
0026	Ach wie Flüchtig, ach wie nichtig	Sacred Cantata	Volume 11, page 53	Twenty Fourth Sunday after Trinity (early/late November)	Colossians 1, v. 9-14 (Prayer for the increase of grace)	Matthew 9, v.18-26 (The raising of Jairus's daughter)	BWV 0026
0027	Wer weiss, wie nahe mir mein Ende!	Sacred Cantata	Volume 9, page 247	Sixteenth Sunday after Trinity (mid-September/early October)	Ephesians 3, v.13-21 (Paul prays that the Ephesians may perceive the love of God)	Luke 7, v.11-17 (The raising of the son of the widow of Nain)	BWV 0027
0028	Gottlob! nun geht das Jahr zu Ende	Sacred Cantata	Volume 2, page 97	Sunday after Christmas (late December)	Galatians 4,v.1-7 (Christ is sent to redeem those under the law)	Luke 2, v.33-40 (The time after Christ's birth)	BWV 0028
0029	Wir danken dir, Gott, wir danken dir	Sacred Cantata	Volume 13, page 267	Inauguration of the Leipzig Town Council (Late August)	{“label”:“”,“url”:“”,“target”:“”}	{“label”:“”,“url”:“”,“target”:“”}	BWV 0029
0030	Freue dich, erlöste Schar	Sacred Cantata	Volume 12, page 81	Feast of St. John the Baptist (24th June)	Isaiah 40, v.1-5 (Prepare the way of the Lord)	Luke 1, v.57-80 (The birth of John the Baptist)	BWV 0030
0031	Der Himmel lacht! die Erde jubilieret	Sacred Cantata	Volume 4, page 65	Easter Sunday (late March to mid-April)	1 Corinthians 5, v.7-8 (Christ our Passover is sacrificed for us)	Mark 16, v.1-8 (Christ is risen)	BWV 0031
0032	Liebster Jesu, mein Verlangen	Sacred Cantata	Volume 2, page 533	First Sunday after Epiphany (early January)	Romans 12, v.1-6 (We are at one in Christ)	Luke 2, v.41-52 (Jesus in the temple)	BWV 0032
0033	Allein zu dir, Herr Jesu Christ	Sacred Cantata	Volume 8, page 335	Thirteenth Sunday after Trinity (late August/Mid-September)	Galatians 3, v.15-22 (The promises made to Abraham)	Luke 10, v.23-37 (The parable of the Good Samaritan)	BWV 0033
0034	O ewiges Feuer, o Ursprung der Liebe	Sacred Cantata	Volume 5, page 367	Whit Sunday (Mid-May/Mid-June)	Acts 2, v.1-13 (The giving of the Holy Spirit)	John 14, v.23-31 (If a man loves Me, he will keep my word)	BWV 0034
0035	Geist und Seele wird verwirret	Sacred Cantata	Volume 8, page 241	Twelfth Sunday after Trinity (Late August/early September)	2 Corinthians 3, v.4-11 (Ministers of a new Covenant)	Mark 7, v.31-37 (The deaf man cured)	BWV 0035
0036	Schwingt freudig euch empor	Sacred Cantata	Volume 1, page 39 (and page 63 for alternative version)	First Sunday in Advent (Late November/early December)	Romans 13, v.11-14 (Our salvation is nearer than we believe)	Matthew 21, v.1-9 (Christ's entry into Jerusalem)	BWV 0036
0037	Wer da gläubet und getauft wird	Sacred Cantata	Volume 5, page 103	Ascension Day (May to early June)	Acts 1, v.1-11 (Christ prepares His disciples for the Ascension)	Mark 16, v.14-20 (Christ ascends into heaven)	BWV 0037
0038	Aus tiefer Not schrei ich zu dir	Sacred Cantata	Volume 10, page 243	Twenty-First Sunday after Trinity (Late October/mid November)	Ephesians 6, v.10-17 (Put on the whole armour of God)	John 4, v.46-54 (The healing of the nobleman's son)	BWV 0038
0039	Brich dem Hungrigen dein Brot	Sacred Cantata	Volume 6, page 205	First Sunday after Trinity (late May)	1 John 4, v.16-21 (God is Love)	Luke 16, v. 19-31 (Parable of the rich man and Lazarus)	BWV 0039
0040	Dazu ist erschienen der Sohn Gottes	Sacred Cantata	Volume 1, page 399	Christmas Monday (Late December)	Acts 6, v.8-15; 7, v.55-60 (The Martyrdom of St. Stephen)	Luke 2, v.15-20 (The shepherds at the manger)	BWV 0040
0041	Jesu, nun sei gepreiset	Sacred Cantata	Volume 2, page 173	Feast of the Circumcision (New Year's Day)	Galatians 3, v.23-29 (We are all one in Christ)	Luke 2, v.21 (His name shall be called Jesus)	BWV 0041
0042	Am Abend aber desselbigen Sabbats	Sacred Cantata	Volume 4, page 359	First Sunday after Easter (early/late April: 'Quasimodogeniti')	1 John 5, v.4-10 (Faith overcomes the world)	John 20, v.19-31 (Christ appears to the twelve)	BWV 0042
0043	Gott fähret auf mit Jauchzen	Sacred Cantata	Volume 5, page 157	Ascension Day (May to early June)	Acts 1, v.1-11 (Christ prepares His disciples for the Ascension)	Mark 16, v.14-20 (Christ ascends into heaven)	BWV 0043
0044	Sie werden euch in den Bann tun	Sacred Cantata	Volume 5, page 189	Sunday after Ascension	1 Peter 5, v.7-11 (Be charitable to one another)	John 15, v.26 - 16, v.1-4 (They shall put you out of the synagogue)	BWV 0044
0045	Es ist dir gesagt, Mensch, was gut ist	Sacred Cantata	Volume 7, page 357	Eighth Sunday after Trinity (mid-July/early August)	Romans 8, v.12-17 (We are joint heirs with Christ)	Matthew 7, v.15-23 (Beware of false prophets)	BWV 0045
0046	Schauet doch und sehet	Sacred Cantata	Volume 7, page 519	Tenth Sunday after Trinity (early-mid August)	1 Corinthians 12, v.1-11 (Spiritual gifts are diverse)	Luke 19, v.41-48 (Jesus weeps over Jerusalem)	BWV 0046
0047	Wer sich selbst erhöhet, der soll erniedriget werden	Sacred Cantata	Volume 9, page 345	Seventeenth Sunday after Trinity (late-September/mid-October)	Ephesians 4, v.1-6 (Exhortation to unity)	Luke 14, v.1-11 (Christ heals the man with dropsy)	BWV 0047
0048	Ich elender Mensch, wer wird mich erlösen	Sacred Cantata	Volume 5, page 509	Nineteenth Sunday after Trinity (Early October)	Ephesians 4, v.22-28 (Put on the new man)	Matthew 9, v.1-8 (The healing of the man sick of the palsy)	BWV 0048
0049	Ich geh und suche mit Verlangen	Sacred Cantata	Volume 10, page 133	Twentieth Sunday after Trinity	Ephesians 5, v.15-21 (Be not drunk with wine)	Matthew 22, v.1-14 (Parable of the marriage of the King's son)	BWV 0049
0050	Nun ist das Heil und die Kraft	Sacred Cantata	Volume 12, page 289	Feast of St. Michael and all angels (29th September)	Revelations 12, v.7-12 (War in Heaven)	Matthew 18, v.1-11 (Whoso humbles himself is greatest in Heaven)	BWV 0050
0051	Jauchzet Gott in allen Landen!	Sacred Cantata	Volume 8, page 579	Fifteenth Sunday after Trinity (September)	Galatians 5, v.25 - 6, v.10 (The fruits of the spirit)	Matthew 6, v.23-34 (The birds of the air, the flowers of the field)	BWV 0051
0052	Falsche Welt, dir trau ich nicht!	Sacred Cantata	Volume 10, page 461	Twenty-third Sunday after Trinity (November)	Philippians 3, v.17-21 (Follow not carnal things, as many do)	Matthew 22, v.15-22 The Pharisees and the tribute to Caesar’	BWV 0052
0053	{“label”:“”,“url”:“”,“target”:“”}	Apocryphal - Not by Bach			{“label”:“”,“url”:“”,“target”:“”}	{“label”:“”,“url”:“”,“target”:“”}	{“label”:“”,“url”:“”,“target”:“”}
0054	Widerstehe doch der Sünde	Sacred Cantata	Volume 7, page 161	Oculi Sunday (Third Sunday in Lent: late February/March)	Ephesians 5, v.1-9 (Exhortation to lead a pure life)	Luke 11, v.14-28 (Jesus and Beelzebub)	BWV 0054
0055	Ich armer Mensch, ich Sündenknecht	Sacred Cantata	Volume 10, page 385	Twenty-second Sunday after Trinity (late October/November)	Philippians 1, v.3-11 (Paul's love for the Philippians)	Matthew 18, v.23-25 (Parable of the unmerciful servant)	BWV 0055
0056	Ich will den Kreuzstab gerne tragen	Sacred Cantata	Volume 9, page 577	Nineteenth Sunday after Trinity (Early October)	Ephesians 4, v.22-28 (Put on the new man)	Matthew 9, v.1-8 (The sick are healed)	BWV 0056
0057	Selig ist der Mann	Sacred Cantata	Volume 1, page 479	Christmas Monday (Late December)	Acts 6, v.8-15; 7, v.55-60 (Martyrdom of St. Stephen)	Luke 2, v.15-20 (The shepherds at the manger)	BWV 0057
0058	Ach Gott, wie manches Herzeleid	Sacred Cantata	Volume 2, page 353	Sunday after the Circumcision (early January)	1 Peter 4, v.12-19 (The sufferings of Christians)	Matthew 2, v.13-23 (The flight into Egypt)	BWV 0058
0059	Wer mich liebet, der wird mein Wort halten	Sacred Cantata	Volume 5, page 305	Whit Sunday (Mid-May/Mid-June)	Acts 2, v.1-13 (The descent of the holy spirit)	John 14, v.23-31 (If a man loves me, he will keep my word)	BWV 0059
0060	O Ewigkeit, du Donnerwort	Sacred Cantata	Volume 11, page 25	Twenty-fourth Sunday after Trinity (November)	Colossians 1, v.9-14 (Prayer for the increase of grace)	Matthew 9, v.18-26 (The raising of Jairus's daughter)	BWV 0060
0061	Nun komm, der Heiden Heiland	Sacred Cantata	Volume 1, page 23	First Sunday in Advent (Late November/early December)	Romans 13, v.11-14 (Our salvation is nearer than we believe)	Matthew 21, v.1-9 (Christ's entry into Jerusalem)	BWV 0061
0062	Nun komm, der Heiden Heiland	Sacred Cantata	Volume 1, page 97	First Sunday in Advent (Late November/early December)	Romans 13, v.11-14 (Our salvation is nearer than we believe)	Matthew 21, v.1-9 (Christ's entry into Jerusalem)	BWV 0062
0063	Christen, ätzet diesen Tag	Sacred Cantata	Volume 1, page 151	Christmas Day (December 25th)	Titus 2, v.11-14 (The grace of God appeared to men)	Luke 2, v.1-14 (The Nativity of Christ)	BWV 0063
0064	Sehet, welch eine Liebe hat uns der Vater erzeiget	Sacred Cantata	Volume 1, page 509	3rd Day of Christmas (27th December)	Hebrews 1, v.1-14 (Christ is above the angels)	John 1, v.1-14 (In the beginning was the word)	BWV 0064
0065	Sie werden aus Saba alle kommen	Sacred Cantata	Volume 2, page 391	Feast of Epiphany (first week of January)	Isaiah 60, v.1-16 (The Gentiles shall come to your light)	Matthew 2, v.1-12 (The wise men seek Christ)	BWV 0065
0066	Erfreut euch, ihr Herzen	Sacred Cantata	Volume 4, page 139	Easter Monday (late-March/mid-April)	Acts 10, v. 34-41 (Peter preaches)	Luke 24, v. 13-35 (Christ appears on the road to Emmaus)	BWV 0066
0067	Halt im Gedächtnis Jesum Christ	Sacred Cantata	Volume 4, page 299	First Sunday after Easter (early/late April: 'Quasimodogeniti')	1 John 5, v.4-10 (Faith overcomes the world)	John 20, v.19-31 (Christ appears to the twelve)	BWV 0067
0068	Also hat Gott die Welt geliebt	Sacred Cantata	Volume 5, page 467	Whit Monday (Mid-May/Mid-June)	Acts 10, v.42-48 (Descent of the Holy Spirit upon Cornelius and his company)	John 3, v.16-21 (For God so loved the world)	BWV 0068
0069	Lobe den Herrn, meine Seele	Civic Cantata	Volume 13, page 377	August 26th, 1784 (Inauguration of new Town Council)	N/A	N/A	BWV 0069
0069a	Lobe den Herrn, meine Seele	Sacred Cantata	Volume 8, page 143	Twelfth Sunday after Trinity (Late August/early September)	2 Corinthians 3, v.4-11 (Ministers of a new Covenant)	Mark 7, v.31-37 (The deaf man cured)	BWV 0069a
0070	Wachet! betet! betet! wachet!	Sacred Cantata	Volume 11, page 131	Twenty-sixth Sunday after Trinity (Late November)	2 Peter 3, v.3-13 (Christ's second coming)	Matthew 25, v.31-46 (The Last Judgement)	BWV 0070
0071	Gott ist mein König	Civic Cantata	Volume 13, page 23	February 4th, 1708	N/A	N/A	BWV 0071
0072	Alles nur nach Gottes Willen	Sacred Cantata	Volume 3, page 81	Third Sunday after Epiphany (late-January)	Romans 12, v.17-21 (Overcome evil with good)	Matthew 8, v.1-13 (The cleansing of the leper)	BWV 0072
0073	Herr, wie du willt, so schick's mit mir	Sacred Cantata	Volume 3, page 25	Third Sunday after Epiphany (late-January)	Romans 12, v.17-21 (Overcome evil with good)	Matthew 8, v.1-13 (The cleansing of the leper)	BWV 0073
0074	Wer mich liebet, der wird mein Wort halten	Sacred Cantata	Volume 5, page 321	Whit Sunday (Mid-May/Mid-June)	Acts 2, v.1-13 (The descent of the holy spirit)	John 14, v.23-31 (If a man loves me, he will keep my word)	BWV 0074
0075	Die Elenden sollen essen, daß sie satt werden	Sacred Cantata	Volume 6, page 111	First Sunday after Trinity (late May)	1 John 4, v. 16-21 (The love of God)	Luke 16, v. 19-31 (Parable of the rich man and Lazarus)	BWV 0075
0076	Die Himmel erzählen die Ehre Gottes	Sacred Cantata	Volume 6, page 267	Second Sunday after Trinity (May/June-ish)	1 John 3, v. 13-18 (on the need for Christian brotherly love)	Luke 14, v. 16-24 (Parable of the great supper)	BWV 0076
0077	Du sollt Gott, deinen Herren, Lieben	Sacred Cantata	Volume 8, page 313	Thirteenth Sunday after Trinity (late August/Mid-September)	Galatians 3, v.15-22 (The promises made to Abraham)	Luke 10, v.23-37 (The parable of the Good Samaritan)	BWV 0077
0078	Jesu, der du meine Seele	Sacred Cantata	Volume 8, page 427	Fourteenth Sunday after Trinity (late August/early September)	Galatians 5, v. 16-24 (The fruits of the spirit)	Luke 17, v. 11-19 (The healing of the lepers)	BWV 0078
0079	Gott der Herr ist Sonn und Schild	Sacred Cantata	Volume 12, page 329	Feast of the Reformation (October 31st)	2 Thessalonians 2, v.3-8 (The wicked shall be revealed)	Revelation 14, v.6-8 (The everlasting gospel)	BWV 0079
0080	Ein' feste Burg ist unser Gott	Sacred Cantata	Volume 12, page 399	Feast of the Reformation (October 31st)	2 Thessalonians 2, v.3-8 (The wicked shall be revealed)	Revelation 14, v.6-8 (The everlasting gospel)	BWV 0080
0081	Jesus schläft, was soll ich hoffen?	Sacred Cantata	Volume 3, page 133	Fourth Sunday after Epiphany (late January)	Romans 13, v. 8-10 (Love is the fulfilling of the law)	Matthew 8, v. 23-27 (Jesus calms the storm)	BWV 0081
0082	Ich habe genung	Sacred Cantata	Volume 11, page 303	Feast of the Purification of Mary (2nd February)	Malachi 3, v.1-4 (The Lord shall suddenly c ome to his temple)	Luke 2, v.22-32 (Simeon prophesies of Christ)	BWV 0082
0083	Erfreute Zeit im neuen Bunde	Sacred Cantata	Volume 11, page 229	Feast of the Purification of Mary (2nd February)	Malachi 3, v.1-4 (The Lord shall suddenly c ome to his temple)	Luke 2, v.22-32 (Simeon prophesies of Christ)	BWV 0083
0084	Ich bin vergnügt mit meinem Glücke	Sacred Cantata	Volume 3, page 223	Septuagesima Sunday (Late January/mid-February)	1 Corinthians 9, v.24-27; 10, v.1-5 (Our life is like a race, but only one receives the prize)	Matthew 20, v.1-16 (The labourers in the vineyard)	BWV 0084
0085	Ich bin ein guter Hirt	Sacred Cantata	Volume 4, page 455	Misericordias Domini, 2nd Sunday after Easter (April/May)	1 Peter 2, v.21-25 ( You were as sheep gone astray)	John 10, v.11-16 (I am the good Shepherd)	BWV 0085
0086	Wahrlich, wahrlich, ich sage euch	Sacred Cantata	Volume 5, page 69	Fifth Sunday after Easter (Rogation Sunday - May)	James 1, v.12-27 (Be doers of the word, not hearers only)	John 16, v.23-30 (What you ask in my name, the Father will give you)	BWV 0086
0087	Bisher habt ihr nichts gebeten in meinem Namen	Sacred Cantata	Volume 5, page 85	Fifth Sunday after Easter (Rogation Sunday - May)	James 1, v.12-27 (Be doers of the word, not hearers only)	John 16, v.23-30 (What you ask in my name, the Father will give you)	BWV 0087
0088	Siehe, ich will viel Fischer aussenden	Sacred Cantata	Volume 7, page 55	Fifth Sunday after Trinity	1 Peter 3, v.8-15 (Be patient in affliction)	Luke 5, v.1-11 (The miraculous draught of fishes)	BWV 0088
0089	Was soll ich aus dir machen, Ephraim?	Sacred Cantata	Volume 10, page 331	Twenty-second Sunday after Trinity (late October/November)	Philippians 1, v.3-11 (Paul's love for the Philippians)	Matthew 18, v.23-35 (Parable of the unmerciful servant)	BWV 0089
0090	Es reißet euch ein schrecklich Ende	Sacred Cantata	Volume 11, page 83	Twenty-fifth Sunday after Trinity (Late November)	1 Thessalonians 4, v.13-18 (Christ’s second coming)	Matthew 24, v.15-28 (Christ’s prediction)	BWV 0090
0091	Gelobet seist du, Jesu Christ	Sacred Cantata	Volume 1, page 281	Christmas Day (December 25th)	Isaiah 9, v.2-7 (The people that walked in darkness have seen a great light)	Luke 2, v.1-14 (The Nativity of Christ)	BWV 0091
0092	Ich habe in Gottes Herz und Sinn	Sacred Cantata	Volume 3, page 243	Septuagesima Sunday (Late January/mid-February)	1 Corinthians 9, v.24-27; 10, v.1-5 (Our life is like a race, but only one receives the prize)	Matthew 20, v.1-16 (The labourers in the vineyard)	BWV 0092
0093	Wer nur den lieben Gott läßt walten	Sacred Cantata	Volume 7, page 25	Fifth Sunday after Trinity (Late June/July)	1 Peter 3, v.8-15 (Be patient in affliction)	Luke 5, v.1-11 (The miraculous draught of fishes)	BWV 0093
0094	Was frag ich nach der Welt	Sacred Cantata	Volume 7, page 453	Ninth Sunday after Trinity (late July/August)	1 Corinthians 10, v.6-13 (Take heed lest ye fall)	Luke 16, v.1-9 (The parable of the unjust steward)	BWV 0094
0095	Christus, der ist mein Leben	Sacred Cantata		Sixteenth Sunday after Trinity (mid-September/early October)	Ephesians 3, v.13-21 (Paul prays that the Ephesians may perceive the love of God)	Luke 7, v.11-17 (The raising of the son of the widow of Nain)	BWV 0095
0096	Herr Christ, der einge Gottessohn	Sacred Cantata	Volume 9, page 405	Eighteenth Sunday after Trinity (Late September/October)	1 Corinthians 1, v.4-8 (Thanks for God’s grace)	Matthew 22, v.34-46 (The great commandment)	BWV 0096
0097	In allen meinen Taten	Wedding Cantata	Volume 14, page 473	November 1734 (and subsequent occasions)	N/A	N/A	BWV 0097
0098	Was Gott tut, das ist wohlgetan	Sacred Cantata	Volume 10, page 267	Twenty-First Sunday after Trinity (Late October/mid November)	Ephesians 6, v.10-17 (Put on the whole armour of God)	John 4, v.46-54 (The healing of the nobleman's son)	BWV 0098
0099	Was Gott tut, das ist wohlgetan	Sacred Cantata	Volume 8, page 543	Fifteenth Sunday after Trinity (September)	Galatians 5, v.25 - 6, v.10 (The fruits of the spirit)	Matthew 6, v.23-34 (The birds of the air, the flowers of the field)	BWV 099
0100	Was Gott tut, das ist wohlgetan	Sacred Cantata	Volume 14, page 515	Fifteenth Sunday after Trinity (September)	Galatians 5, v.25 - 6, v.10 (The fruits of the spirit)	Matthew 6, v.23-34 (The birds of the air, the flowers of the field)	BWV 0100
0101	Nimm von uns Herr, du treuer Gott	Sacred Cantata	Volume 7, page 583	Tenth Sunday after Trinity (early-mid August)	1 Corinthians 12, v.1-11 (Spiritual gifts are diverse)	Luke 19, v.41-48 (Jesus weeps over Jerusalem)	BWV 0101
0102	Herr, deine Augen sehen nach dem Glauben!	Sacred Cantata	Volume 7, page 639	Tenth Sunday after Trinity (early-mid August)	1 Corinthians 12, v.1-11 (Spiritual gifts are diverse)	Luke 19, v.41-48 (Jesus weeps over Jerusalem)	BWV 0102
0103	Ihr werdet weinen und heulen	Sacred Cantata	Volume 4, page 555	Third Sunday after Easter (mid-April/early May)	1 Peter 2, v.11-20 (Suffer patiently)	John 16, v.16-23 (You shall be sorrowful, but your sorrow shall be turned into joy)	BWV 0103
0104	Du Hirte Israel, höre	Sacred Cantata	Volume 4, page 411	Misericordias Domini, 2nd Sunday after Easter (April/May)	1 Peter 2, v.21-25 ( You were as sheep gone astray)	John 10, v.11-16 (I am the good Shepherd)	BWV 0104
0105	Herr, gehe nicht ins Gericht mit deinem Knecht	Sacred Cantata	Volume 7, page 411	Ninth Sunday after Trinity (late July/August)	1 Corinthians 10, v.6-13 (Take heed lest ye fall)	Luke 16, v.1-9 (The parable of the unjust steward)	BWV 0105
0106	Gottes Zeit ist die allerbeste Zeit	Funeral Cantata	Volume 14, page 277	August 10th, 1707 (in Mühlhausen) [?]	N/A	N/A	BWV 0106
0107	Was willst du dich betrüben	Sacred Cantata	Volume 2, page 215	Seventh Sunday after Trinity (Mid-July / August)	Romans 6, v.19-23 (The wages of sin is death)	Mark 8, v.1-9 (Christ feeds the four thousand)	BWV 0107
0108	Es ist euch gut, daß ich hingehe	Sacred Cantata	Volume 5, page 41	Fourth Sunday after Easter (April/May)	James 1, v.17-21 (Every good gift is from above)	John 16, v.5-15 (It is expedient that I go away)	BWV 0108
0109	Ich glaube, lieber Herr, hilf meinem Unglauben	Sacred Cantata	Volume 10, page 183	Twenty-First Sunday after Trinity (Late October/mid November)	Ephesians 6, v.10-17 (Put on the whole armour of God)	John 4, v.46-54 (The healing of the nobleman's son)	BWV 0109
0110	Unser Mund sei voll Lachens	Sacred Cantata	Volume 1, page 221	Christmas Day (December 25th)	Titus 2, v.11-14 (The grace of God appeared to men)	Luke 2, v.1-14 (The Nativity of Christ)	BWV 0110
0111	Was mein Gott will, das g'scheh allzeit	Sacred Cantata	Volume 3, page 49	Third Sunday after Epiphany (late-January)	Romans 12, v.17-21 (Overcome evil with good)	Matthew 8, v.1-13 (The cleansing of the leper)	BWV 0111
0112	Der Herr ist mein getreuer Hirt	Sacred Cantata	Volume 4, page 477	Misericordias Domini, 2nd Sunday after Easter (April/May)	1 Peter 2, v.21-25 (You were as sheep gone astray)	John 10, v.11-16 (I am the good Shepherd)	BWV 0112
0113	Herr Jesu Christ, du höchstes Gut	Sacred Cantata	Volume 8, page 105	Eleventh Sunday after Trinity (August/Early September)	1 Corinthians 15, v.1-10 (Of Christ’s resurrection)	Luke 18, v.9-14 (Parable of the Pharisee and the Publican)	BWV 0113
0114	Ach, lieben Christen, seid getrost	Sacred Cantata	Volume 9, page 313	Seventeenth Sunday after Trinity (late-September/mid-October)	Ephesians 4, v.1-6 (Exhortation to unity)	Luke 14, v.1-11 (Christ heals the man with dropsy)	BWV 0114
0115	Mache dich, mein Geist, bereit	Sacred Cantata	Volume 10, page 351	Twenty-second Sunday after Trinity (late October/November)	Philippians 1, v.3-11 (Paul's love for the Philippians)	Matthew 18, v.23-35 (Parable of the unmerciful servant)	BWV 0115
0116	Du Friedefürst, Herr Jesu Christ	Sacred Cantata	Volume 11, page 103	Twenty-fifth Sunday after Trinity (Late November)	1 Thessalonians 4, v.13-18 (Christ’s second coming)	Matthew 24, v.15-28 (Christ’s prediction)	BWV 0116
0117	Sei Lob und Ehr dem höchsten Gut	Sacred Cantata	Volume 14, page 427	Probably for the Birthday of Christian von Weißenfels, 1728-1732	N/A	N/A	BWV 0117
0118	O Jesu Christ, meins Lebens Licht	Motet	Volume 17, page 699	An unknown funeral 1737. First known performance: Oct 11th 1740.	{“label”:“”,“url”:“”,“target”:“”}	{“label”:“”,“url”:“”,“target”:“”}	BWV 0118
0119	Preise, Jerusalem, den Herrn	Civic Cantata	Volume 13, page 151	August 30th, 1723 (Inauguration of new town council)	N/A	N/A	BWV 0119
0120	Gott, man lobet dich in der Stille	Civic Cantata	Volume 13, page 319	Unknown date; possibly 1740s	N/A	N/A	BWV 0120
0120a	Herr Gott, Beherrscher aller Dinge	Wedding Cantata	Volume 14, page 97	Unknown, but probably 1729	N/A	N/A	BWV 0120a
0121	Christum wir sollen loben schon	Sacred Cantata	Volume 1, page 453	Christmas Monday (Late December)	Titus 3, v.4-7 (God’s mercy has appeared in Christ)	Luke 2, v.15-20 (The shepherds at the manger)	BWV 0121
0122	Das neugeborene Kindelein	Sacred Cantata	Volume 2, page 75	First Sunday after Christmas Day (end of December)	Galatians 4,v.1-7 (Christ is sent to redeem those under the law)	Luke 2, v.33-40 (Christ is born for the redemption of Israel)	BWV 0122
0123	Liebster Immanuel, Herzog der Frommen	Sacred Cantata	Volume 2, page 437	Feast of Epiphany (first week of January)	Isaiah 60, v.1-6 (The Gentiles shall come to thy light)	Matthew 2, v.1-12 (The wise men seek Christ)	BWV 0123
0124	Meinen Jesum laß ich nicht	Sacred Cantata	Volume 2, page 505	First Sunday after Epiphany (early January)	Romans 12, v.1-6 (We are at one in Christ)	Luke 2, v.41-52 (Jesus in the temple)	BWV 0124
0125	Mit Fried und Freud ich fahr dahin	Sacred Cantata	Volume 11, page 259	Feast of the Purification of Mary (2nd February)	Malachi 3, v.1-4 (The Lord shall suddenly come to his temple)	Luke 2, v.22-32 (Simeon prophesies of Christ)	BWV 0125
0126	Erhalt uns Herr, bei deinem Wort	Sacred Cantata	Volume 3, page 357	Sexagesima Sunday (late January – late-February)	2 Corinthians 11, v19 - 12, v. 9 (Paul justifies himself)	Luke 8, v.4-15 (The parable of the sower)	BWV 0126
0127	Herr Jesu Christ, wahr' Mensch und Gott	Sacred Cantata	Volume 3, page 497	Quinquagesima Sunday (February/early March)	1 Corinthians 13, v. 1-13 (Faith, hope, charity)	Luke 18, v. 31-43 (Jesus and the Disciples set out for Jerusalem)	BWV 0127
0128	Auf Christi Himmelfahrt allein	Sacred Cantata	Volume 5, page 125	Ascension Day (May to early June)	Acts 1, v.1-11 (Christ prepares His disciples for the Ascension)	Mark 16:14-20 (The Great Commission and Ascension)	BWV 128
0129	Gelobet sei der Herr, mein Gott	Sacred Cantata	Volume 6, page 63	Trinity Sunday (Late May - June)	Romans 11, v.33-36 (The depth of the riches of God)	John 3, v.1-15 (Nicodemus comes to Christ in the night)	BWV 0129
0130	Herr Gott, dich loben alle wir	Sacred Cantata	Volume 12, page 147	Feast of St. Michael and all angels (29th September)	Revelation 12, v. 7-12 (And there was war in Heaven)	Matthew 18, v. 1-11 (Whoever humbles himself is greatest in heaven)	BWV 0130
0131	Aus der Tiefen rufe ich, Herr, zu dir	Sacred Cantata	Volume 14, page 343	Various Occasions	N/A	N/A	BWV 0131
0132	Bereitet die Wege, bereitet die Bahn!	Sacred Cantata	Volume 1, page 121	Fourth Sunday in Advent (mid-December)	Philippians 4, v.4-7 (Rejoice in the Lord always)	John 1, v.19-28 (The witness of John the Baptist)	BWV 0132
0133	Ich freue mich in dir	Sacred Cantata	Volume 1, page 531	Third day of Christmas (27th December)	Hebrews 1, v.1-14 (Christ is higher than the angels)	John 1, v.1-14 (In the Beginning was the Word)	BWV 0133
0134	Ein Herz, das seinen Jesum lebend weiß	Sacred Cantata	Volume 4, page 207	Easter Tuesday (mid-April/early May)	Acts 13, v.26-33 (Paul preaches Christ is risen)	Luke 24, v.36-47 (Jesus appears to the Twelve)	BWV 0134
0135	Ach Herr, mich armen Sünder	Sacred Cantata	Volume 6, page 463	Third Sunday after Trinity (mid-June/early-July)	1 Peter 5, v.6-11 (Cast your cares upon God)	Luke 15, v. 1-10 (The parable of the Lost Sheep)	BWV 0135
0136	Erforsche mich, Gott, und erfahre mein Herz	Sacred Cantata	Volume 7, page 289	Eighth Sunday after Trinity (mid-July/early August)	Romans 8, v.12-17 (We are joint heirs with Christ)	Matthew 7, v.15-23 (Beware of false prophets)	BWV 0136
0137	Lobe den Herren, den mächtigen König der Ehren	Sacred Cantata	Volume 8, page 197	Twelfth Sunday after Trinity (Late August/early September)	2 Corinthians 3, v.4-11 (Ministers of a new Covenant)	Mark 7, v.31-37 (The deaf man cured)	BWV 0137
0138	Warum betrübst du dich, mein Herz?	Sacred Cantata	Volume 8, page 503	Fifteenth Sunday after Trinity (September)	Galatians 5, v.25 - 6, v.10 (The fruits of the spirit)	Matthew 6, v.23-34 (The birds of the air, the flowers of the field)	BWV 0138
0139	Wohl dem, der sich auf seinen Gott	Sacred Cantata	Volume 10, page 427	Twenty-third Sunday after Trinity (November)	Philippians 3, v.17-21 (Our conversation is in heaven)	Matthew 22, v.15-22 The Pharisees and the tribute to Caesar	BWV 0139
0140	Wachet auf, ruft uns die Stimme	Sacred Cantata		Twenty-seventh Sunday after Trinity (end November)	1 Thessalonians 5, v.1-11 (Watch and be sober)	Matthew 25, v.1-13 (The wise and foolish virgins)	BWV 0140
0141	Apocryphal - Not by Bach
0142	Apocryphal - Not by Bach
0143	Lobe den Herrn, meine Seele	Sacred Cantata	Volume 2, page 301	Feast of the Circumcision (New Year's Day)	Galatians 3, v.23-29 (We are all one in Christ)	Luke 2, v.21 (His name shall be called Jesus)	BWV 0143
0144	Nimm, was dein ist, und gehe hin	Sacred Cantata	Volume 3, page 203	Septuagesima Sunday (Late January/mid-February)	1 Corinthians 9, v.24-27; 10, v.1-5 (Our life is like a race, but only one receives the prize)	Matthew 20, v.1-16 (The labourers in the vineyard)	BWV 0144
0145	Ich lebe, mein Herze, zu deinem Ergötzen	Sacred Cantata	Volume 4, page 249	Easter Tuesday (mid-April/early May)	Acts 13, v.26-33 (Paul preaches Christ is risen)	Luke 24, v.36-47 (Jesus appears to the Twelve)	BWV 0145
0146	Wir müssen durch viel Trübsal in das Reich Gottes eingehen	Sacred Cantata	Volume 4, page 595	Third Sunday after Easter (mid-April/early May)	1 Peter 2, v. 11-20 (Suffer patiently)	John 16, v.16-23 (You shall be sorrowful, but your sorrow shall be turned into joy)	BWV 0146
0147	Herz und Mund und Tat und Leben	Sacred Cantata	Volume 11, page 497	Feast of the Visitation of Mary (2nd July)	Isaiah 11, v.1-5 (A rod shall come out of Jesse)	Luke 1, v.39-56 (Elizabeth visits Mary)	BWV 0147
0148	Bringet dem Herrn Ehre seines Namens	Sacred Cantata	Volume 9, page 279	Seventeenth Sunday after Trinity (mid-September/October)	Ephesians 4, v.1-6 (Exhortation to unity)	Luke 14, v.1-11 (Christ heals the man with dropsy)	BWV 0148
0149	Man singet mit Freuden vom Sieg	Sacred Cantata	Volume 12, page 243	Feast of St. Michael and all angels (29th September)	Revelation 12, v. 7-12 (And there was war in Heaven)	Matthew 18, v.1-11 (Whoso humbles himself is greatest in Heaven)	BWV 0149
0150	Nach dir, Herr, verlanget mich	Sacred Cantata	Volume 17, page 275	Various Occasions	N/A	N/A	BWV 0150
0151	Süßer Trost, mein Jesus kömmt	Sacred Cantata	Volume 1, page 565	Third day of Christmas (27th December)	Hebrews 1, v.1-14 (Christ is higher than the angels)	John 1, v.1-14 (In the beginning was the Word)	BWV 0151
0160	Apocryphal - Not by Bach
0189	Apocryphal - Not by Bach

buildarch

Anonymous (anonymous@undisclosed.example.com) — 2025-10-29T13:56:32+00:00

Build a VM running Arch

1.0 Introduction

Arch Linux is not an easy distro to install and get working. It doesn't even really have an installer as such: you have to partition your disks, copy software across and configure everything pretty much by hand. The result, however, is a lean, mean distro that is constructed precisely as you want it to be.There is thus much to recommend it as an efficient, rock-solid operating system. Arch also happens to be a “rolling distro”, which means that it is continually updated (rather than being released as a new version every six months or so, as Fedora or Ubuntu are). That means you are always working with the latest software (though with a slight risk that the next update might knacker your entire system!)

This mixture of attributes makes Arch an interesting distro to work with -and a worthwhile one, even though it isn't particularly popular. Accordingly, I added it to my list of distros that my music-related software has to work with and get tested on and that in turn means that I need to be able to construct an Arch virtual machine on which I can actually test things out.

This has proved trickier in the past than I would have liked: there's always something to get wrong during the installation process, something I've missed or forgotten about! I've therefore put these notes together so I can do it right and repeatably in the future.

These are instructions I used to build an Arch distro in a VirtualBox Virtual Machine, running the Gnome desktop, with a bare minimum of software installed to ensure administrative capabilities, access to the Internet and a platform on which my music software will run without drama. I don't go into the details of why certain things are done: if you're contemplating running Arch yourself, you need to be an already-competent user of Linux, so such explanations would be rather redundant! So this is the short and sharp guide to getting Arch working :)

2.0 The Basics

I provide my VirtualBox VM with:

8192MB of virtual RAM
2 virtual CPUs using PAE/NX
15GB virtual hard disk
128MB Video Memory and 3D Acceleration enabled

It is configured to use NAT'd networking (it will need to be able to connect to the Internet) and has audio enabled via my host's PulseAudio driver.

I obtained my Arch Linux installation medium from here, specifically the archlinux-2021.03.01-x86_64.iso file, though you'll probably want a more up-to-date ISO than that by the time you read this. You can, of course, make your VM more powerful and the specific installation medium to use will obviously change over time.

3.0 Getting Started

The virtual machine is started and immediately boots into a startup menu:

The top menu option is the correct option to take: note that it is booting in BIOS mode, not EFI. Either let the automatic boot countdown time itself out or press [Enter] to accept the top menu selection. When the boot process completes, you are dumped somewhat unceremoniously at a command prompt, logged in as root. Everything from this point consists of typing a string of commands, correctly, in the right order and without missing anything out!

3.1 Initial Configuration

To begin with, be aware that Arch's default keyboard map is US English -which is fine if you're using a US Keyboard layout! If you are not, you'll need to specify a different keymap now. The command:

ls /usr/share/kbd/keymaps/**/*.map.gz | less

…will list all available keymaps, so if you need a French or German one, read that list carefully. The bit you need to take note of is the last part of the file name, but ignoring the “.map.gz” extension. So, a Spanish keyboard would probably be listed under 'es' for 'España'; an Italian one under 'it' and so on. The standard UK Qwerty keymap is listed as 'uk.map.gz', so lopping off the extension, you arrive at plain 'uk'. Knowing that, issue the loadkeys command:

loadkeys uk

Next, confirm what hard disks exist on your system with the command:

fdisk -l

Ignoring any loop devices listed, you'll probably see just one device listed called /dev/sda. This is your virtual machine's 'virtual hard disk' and we need to partition it and format it before doing anything else. The command to do that is:

fdisk /dev/sda

That takes you into the fdisk utility where it unhelpfully sits there prompting you to type a 'command' of some sort. These are issued by typing individual letters. The key sequence you need to supply now is as follows:

n
p
[Enter] [Enter] [Enter]
w

That creates you a new primary partition, accepting the defaults for its size and location on the disk, and then writing those configuration details to disk, so they actually take effect: congratulations, you now have a new partition on the hard drive, called /dev/sda1. You now need to format it (and I'm only going to use the very unexotic ext4 file system to do so):

mkfs.ext4 /dev/sda1

You now have a usable hard disk onto which we can install the Arch operating system and software itself.

3.2 Installing the Operating System

The Arch software is actually fetched from the Internet (the boot ISO you booted your VM with is only to get a 'live' Arch system up and running, with which to issue all these commands). It would therefore be helpful if the source of the software was located geographically close to you: copying over the Internet will be faster that way. So, to start, we need to make Arch aware of the closest software mirrors it can use:

pacman -Syy
pacman -S reflector

These commands use the pacman package manager to make sure it's initially synchronised, so that it can then install a new program called 'reflector'. When you are prompted whether to proceed with software installation, answer 'y'.

Now we can ask the reflector package to work out where the closest software mirror is:

cp /etc/pacman.d/mirrorlist /etc/pacman.d/mirrorlist.orig
reflector --country GB -f 12 -l 10 -n 12 --save /etc/pacman.d/mirrorlist

The first command takes a backup of the existing mirror list (just in case we have a disaster fetching the new one!) and the second actually gets the new list of 10 mirors for us, fetching them from a specific country I figure is close to me (I live in the UK, but GB is the correct country code, I fear!) If the command errors out, keep repeating it until you get a non-error return. If in doubt, cat the /etc/pacman.d/mirrorlist and satisfy yourself that a suitable set of mirrors has been found.

Next, we need somewhere to install the operating system to. Sure, we have a /dev/sda1 partition that's willing to do the job, but we need to make it available to the 'live' Arch O/S we're actually running if it's to be able to write to it. Accordingly:

mount /dev/sda1 /mnt

That means our virtual hard disk is now accessible from the /mnt mountpoint. Anything we write to /mnt now will therefore be written to the virtual machine's hard disk.

Finally, the command to fetch the operating system from the Internet and copy it to /mnt is:

pacstrap /mnt base linux linux-firmware nano sudo

That gets us a barebones base Linux system, with a text editor and the sudo program (needed to give normal users root privileges when they need them). A lot of file downloading will now take place:

As you can see, the quantity of stuff to pull down is not enormous (356MB or so), but even so, it will inevitably take a few minutes on a good Internet connection to get that much copied over. So be patient and just let the process complete in its own good time. Should your network connection fail for any reason, don't panic: just re-issue the same pacstrap command again once normal network service has been resumed. The process will pick up from where it last reached.

3.3 Post OS-Installation Configuration

Now that your operating system is installed onto the VM's hard drive, we need to issue a few commands to knock it into a shape where it can be successfully booted into. First, we need to create an fstab so that the new OS knows what drive(s) it's got to mount in the first place:

genfstab -U /mnt && /mnt/etc/fstab

That's the 'live' Arch system writing into the contents of the /mnt folder, so that what it sees as /mnt/etc/fstab will, eventually, become the new system's actual /etc/fstab. But everything else we need to configure can't really be 'posted into' the /mnt system like that. We actually have to sort-of 'go into' /mnt and do everything from within that system:

arch-chroot /mnt

That command essentially makes the /mnt file system appear to start at '/', the root file system. So everything we now do will affect the VM's soon-to-be operating system files directly. There are a bunch of fairly low-level system config and networking commands to get right now:

timedatectl set-timezone Europe/London
hwclock --systohc

The first command says I'm in the UK. If you are not, you'll first need to issue the command timedatectl list-timezones and work out from there what actual timezone to use instead. The second command sets the hardwareclock time from the current system time.

Next, we need to say what 'locale' our system should use. In my case, I want to say I'm using UK currency, date and time conventions and also using the UTF-8 character set (I need the ability to type the occasional umlaut, or cedilla, given I listen to a lot of classical music by European composers!). So:

nano /etc/locale.gen

That document lists every possible locale: your job is to find the one you want and to remove the hash from the start of the line so that it is uncommented. In my case, I'm looking for en_GB.UTF-8 (English, Great Britain, UTF-8 characterset). Once uncommented, press Ctrl+X to quit and then tap 'y' to save when prompted, finishing with a final [Enter] to accept the proposed file name. With one locale un-commented, type the command:

locale-gen

…and you should see confirmation that the correct locale has been generated.

In similar vein, now do:

nano /etc/vconsole.conf

…and type in:

KEYMAP=uk

Again, press Ctrl+X, y, Enter to save the changes. Note that you only put in here whatever you supplied in Section 3.1 for the 'loadkeys' command. If you didn't change the keymap then, because you're using a US keyboard, you don't need to edit the vconsole.conf file now either.

Finally, there's a bit of networking to sort out. Our VM will need a proper hostname and a loopback adapter if networking is to function correctly. So, issue this command:

echo stravinsky > /etc/hostname

…to set your new VM's hostname to 'stravinsky'. If you want a different name, be my guest and supply it instead -but make sure you replace all future mentions of 'stravinsky' in this article with whatever alternative name you decided upon!

Now, finish things off with:

nano /etc/hosts

Into this mostly-empty file, append the following information:

127.0.0.1 localhost
::1       localhost
127.0.1.1 stravinsky.dizwell.home stravinsky

Of course, replace 'stravinsky' with your actual choice of hostname. Also note that 'dizwell.home' is my home network's 'domain name': you'd have to change that to whatever you use in your home network, too. Save the edited file.

Next, we need to give our future root user a working password:

passwd

Whatever password you type in (twice!) when prompted, make sure you don't forget it!

3.4 Finishing things off

We're almost done. There are just a few loose ends to sort out. First, we need to tell our new operating system how it should boot itself:

pacman -S grub
grub-install /dev/sda
grub-mkconfig -o /boot/grub/grub.cfg

That lot installs the grub bootloader software, installs the bootloader onto the VM's hard disk, and then creates a grub configuration that will display a nice boot menu and so on. That makes the new OS at least bootable… but it will be missing most useful software, so let's add that to the mix now:

pacman -S xorg xterm gnome gnome-terminal which firefox make gcc binutils git linux-headers wget bc networkmanager

That's not a huge amount of software: a terminal, a browser, a few developer tools… and the Gnome desktop (but without a lot of Gnome add-ons). It is pretty much the bare minimum you can get away with, I think. There's nothing to stop you adding extra packages to this list now if you know you'll want them in time, too. Incidentally, if you didn't want the Gnome desktop environment but preferred to use KDE, you'd remove those two gnome-related packages from that list and instead add in: plasma plasma-wayland-session to the list (and if you want lots of KDE-specific programs added, too, feel free to throw kde-applications into the mix).

When you submit this command, you'll receive various prompts about which members of groups you want to install: just press [Enter] every time to accept the default suggestions, until you finally get a chance to type 'y' to confirm that installation should proceed.

Inevitably, it takes yet more time to copy all the software down and install it: be patient once more!

When all the software is installed, it's time to create a new non-root user who can exercise root privileges when needed. Type:#

export EDITOR=nano
visudo

Scroll quite a way down the document until you find the line that currently reads # %wheel ALL=(ALL) ALL, and remove the leading '#' and space (so it ends up not being commented out, basically). It means anyone who is then made a member of the group 'wheel' can assume root privileges whenever needed. Save the edited file. Next:

useradd -m -G wheel hjr
passwd hjr

Here, I'm creating a user called 'hjr': you supply whatever name you like for your own user, obviously! The crucial point is that as I create the user, I'm making it a member of the 'wheel' group -so hjr will be a non-root user that can exercise root privileges if necessary. Type the new password for the user when prompted, twice -and don't forget it!

And lastly, let's configure things so that (a) the GUI Gnome system starts up automatically when we reboot and (b) so that automatica network configuration is done for us:

systemctl enable gdm.service
systemctl enable NetworkManager.service

I'm assuming the VM will acquire an automatically-assigned IP address, via DHCP. If that's not true, you'll have to configure a static IP address later on: it's most easily done once the GUI is up and running, I think. Note, too, that if you were installing KDE instead of Gnome, that first command should not mention enabling 'gdm' (because that's Gnome-specific), but instead read: systemctl enable sddm.service, which is the 'simple desktop manager' that KDE is more tied into.

Now, hard though it may be to believe, we're actually done at this point! We just need to quit out of our 'mnt appearing as root' system and then reboot the virtual machine to boot up into a pristine, Gnome-based Arch VM:

exit
reboot

Remember to make sure the initial Arch ISO is removed from the VM's 'virtual CD drive' before the VM gets too far in its reboot process, otherwise you'll reboot back into the live system, not the OS you've just painstakingly installed.

4.0 Final Tweaks

If you're doing this in a VirtualBox VM, you'll probably find that your system boots into a quite small 800×600 display. The best way to fix that is to install the VirtualBox Guest Addtions, which I'll come to in just one moment. First, though, see if you can run the Gnome Terminal: click Activities → Show Applications (the 9-dot grid at the bottom of the vertical dock) → type 'term' → click Terminal. For reasons I haven't yet worked out, I often see the terminal start to run, but then it simply never appears and nothing ends up happening. If that happens to you too, it's fixable: Activities → Show Applications → type 'sett' → click Settings. Scroll down the left-hand panel and find Region & Language.

Click on the 'Language' item at the top of the right-hand pane:

That makes the 'Select language' pop-up appear: click on 'English' so that tick/check-mark appears next to it. In the Input Sources section of the screen too, make sure the correct keyboard is listed. Mine still said 'US', so I clicked the '+', English, and clicked on 'English (UK)', finishing with a click of the [Add] button. I then clicked the 'X' symbol next to 'English (US)' to get rid of it, so that only the UK English keyboard was listed. Shut the Region & Language tool down and then reboot your virtual machine. When it comes back up and you've logged in, try running the Gnome Terminal again: this time, you should have no trouble:

So finally, to fix the screen resolution issue, just click VirtualBox's Devices → Insert Guest Additions CD Image menu options. Give it a second or two and you should be prompted about running the software found on that CD image:

Click [Run] when prompted. You'll then have to supply your non-root user's password to authenticate and the VirtualBox Additions process will then take place automatically:

When the process completes, reboot your VM once more -and now, once you've logged in, you should be able to resize the VM window and have the Gnome session automatically resize itself to fit. At this point, you're pretty well done: further software installations and configuration are really standard Linux admin fare from this point on.

5.0 Conclusion

There are quite a lot of moving parts in an Arch installation, but it's fundamentally not difficult: boot with a live CD; install to a prepared hard disk, install a bootloader, install some software, create a non-root user, reboot. The advice you will always see given (somewhat sniffily, I tend to think!) is: don't read people's articles on how to do it, because they always miss something out. Instead, read the official documentation about how to do it.

Well, be my guest… but personally, I find that documentation incredibly hedged with if-this-then-that-otherwise-not branching that I've rarely enjoyed struggling with it! But yes: that's the 'right' way to do it, and this article merely documents how you can actually do it without all the faff!

I will say that I haven't yet tried any of the above on a physical machine, though I've got a spare laptop lined up for imminent sacrificial duties! But the above certainly worked for me running VirtualBox 6.1 on a Manjaro host. I hope you may find it helpful in starting you on the process of getting to grips with Arch, too: it's a distro that deserves some effort, I think.

bulkreplaygain

Anonymous (anonymous@undisclosed.example.com) — 2026-01-29T21:14:44+00:00

Adding ReplayGain to FLACs in Bulk

1.0 Introduction

Semplice 2.12 introduced the concept of a “metadata-only” volume boost for freshly ripped and tagged FLAC files. This means it will scan all the FLACs in a folder, do some psychoacoustic analysis of the music it finds and compute values for per-track ReplayGain and per-album (or, really, per-folder) ReplayGain and then writes that data into a set of five new metadata tags. Your music player can then read that metadata and use it to adjust the playback volume of the music as it is played. The aim is to get a sustained volume boost to a standardised 'perceived loudness' level without actually altering the audio data in the FLAC.

As such, ReplayGain is rather a nifty idea that (in my experience) works very well for classical music… and, therefore, it's a bit unfortunate that I only just gave Semplice this ability because there's about 20 years'-worth of CD rips which lack any ReplayGain information!

Accordingly, I needed a way to 'catch up': to compute (and apply) ReplayGain in bulk, to the nearly 20,000 FLAC files in my music collection. Below is the result.

I dislike offering bulk update scripts to anyone, really, because doing substantial data changes to a large amount of collected music has the potential to be extremely damaging… and I do not want to damage a music collection that has taken roughly 26 years to amass! On this occasion, however, the addition of new ReplayGain metadata tags isn't doing much harm. It's not likely to obliterate the music in the FLACs, and metadata tags can be removed and re-placed as often as you like without doing damage. So, just this once, a bulk update script seemed plausible.

If you use it, though: you do so entirely at your own risk. And for Heaven's sake: take a backup before you start!!

===== 2.0 The Script Without elaboration at this stage, here's the script I used against my own music collection:

#!/usr/bin/env bash
#
###############################################################################
# A routine to go through every folder mentioned in the local
# music database and apply ReplayGain to the FLACs found within them.
# If ReplayGain is determined to already have been computed, the folder is
# skipped without further work being performed.
#
###############################################################################
clear
sqlite3 "$HOME/.local/share/giocoso3/db/test.db" "select dirname from recordings order by composer" > "directories.txt"
tput civis

# File containing the list of directories
DIRFILE="directories.txt"

# Initialize counters
GAINCOUNTER=0
SKIPCOUNTER=0

# Loop through each line of the file
while IFS= read -r dirname || [[ -n "$dirname" ]]; do

    # Change into the directory
    cd "$dirname" || { echo "Failed to cd into $dirname"; continue; }
    
    FLACFILE=$(find "$(pwd)" -name "*.flac" | sort | head -n 1)
    DISPLAYFLAC="${FLACFILE#/*/*/*/*/}"; DISPLAYFLACFILE="$(basename "$DISPLAYFLAC")"; DISPLAYFLACFILE=${DISPLAYFLACFILE:0:98}
    DISPLAYPATH="$(dirname "$DISPLAYFLAC")"; DISPLAYPATH=${DISPLAYPATH:0:98}
    GAIN=$(metaflac --show-tag=REPLAYGAIN_ALBUM_GAIN "$FLACFILE" 2>/dev/null | cut -d= -f2)
    tput cup 2 54; echo -n "ReplayGain Computed: $GAINCOUNTER - Skipped: $SKIPCOUNTER"
    if [[ -z "$GAIN" ]]; then
        tput cup 6 2; printf '%*s' 98 ''; tput cup 6 2; echo -n "$DISPLAYPATH"
        tput cup 7 2; printf '%*s' 98 ''; tput cup 7 2; echo -n "$DISPLAYFLACFILE"
        echo "$FLACFILE" >> "$HOME/Desktop/adjusted.txt"
        metaflac --add-replay-gain *.flac 2>/dev/null 
        ((GAINCOUNTER++))    
    else
        tput cup 6 2; printf '%*s' 98 ''; tput cup 6 2; echo -n "$DISPLAYPATH"
        tput cup 7 2; printf '%*s' 98 ''; tput cup 7 2; echo -n "$DISPLAYFLACFILE"
        ((SKIPCOUNTER++)) 
    fi
done < "$DIRFILE"
tput civvis

3.0 The Script Explained

The script assumes you are running Giocoso and have accordingly created a local, non-Pro, database of what music files exist in which hard disk folders.

It therefore opens by issuing a 'select dirname from recordings' query against that local database: my script above has hard-coded the name “test.db” as the database to query, but you need to replace that name with the actual name of your database .db file. The query returns the full path to folders that contain FLACs.

The results of the query are written out to a local text file, called directories.txt.

We then read from that text file, one line at a time. For each line, we 'cd' to the folder listed and use the metaflac utility to check if there is already a REPLAYGAIN_ALBUM_GAIN tag present in the first FLAC found within that folder. If such a tag already exists, then ReplayGain has already been computed for that folder and there's no point re-computing ReplayGain in that case. We therefore skip past that folder and read the next line of the text file to get to the next folder.

Should we encounter a folder for which no previous ReplayGain has been computed, we issue the metaflac –add-replay-gain command to compute ReplayGain from scratch for all the FLACs in that folder.

As we loop through each folder mentioned in the text file, we keep count of the folders for which we've had to compute ReplayGain and of those we were able to skip because ReplayGain was already computed. As the script runs, you'll see these counters increment steadily. A lot of the other code in the loop is there to provide some textual feedback as to whereabouts in the list of folders we've reached at any given point.

4.0 Running the Script

Save the script in a text file with a .sh extension anywhere on your file system. Let's say you store it in /home/fred/Desktop, as a file called “addreplaygain.sh”. You then need to make the script executable:

chmod +x /home/fred/Desktop/addreplaygain.sh

Once it's executable, you can run it by typing:

cd /home/fred/Desktop
./addreplaygain.sh

Sit back and be patient as it works its way through your music collection. Computing ReplayGain can take a few tens of seconds. Skipping because it's already been computed takes mere fractions of a second.

The thing was not written with beauty in mind: it will flash annoyingly for the duration of its operation!

Note that if you are a 'dip your toes in the water before plunging into the pool' kind of person, you can restrict the script to working on just a tiny part of your collection by way of a test by altering the text of the initial query.

As written, the query simply selects all recordings in the database's RECORDINGS table. If you add a WHERE clause to the query, however, you can restrict the script to modifying only those folders returned by the modified query. For example:

select dirname from recordings where composer like 'Q% order by composer'

…means that only composers whose first names begins with a 'Q' will get processed. If you have music by Qigang Chen, you'll be in business but you're unlikely to modify many FLACs as his recorded legacy is not huge! Obviously you could modify it as you wish to limit the number of folders the query returns in other ways:

select dirname from recordings order by composer limit 10

…would ensure only the first ten folders of music would get processed. You could check those ten to satisfy yourself that no damage has been done, come back and remove the limit clause and then run the script without any limits or filters.

cleanpdf

Anonymous (anonymous@undisclosed.example.com) — 2025-10-29T09:39:35+00:00

Cleaning PDFs of Metadata

When I buy digital music from the likes of Prestoclassical, it often (though not always) comes with a digital PDF version of the booklet that would have accompanied the physical CD in its jewel case.

An example of the front page of one such PDF is shown in the thumbnail at the left, belonging to a digital download of the film music of William Alwyn I bought back in October 2022.

The trouble with such digitised booklets, however, is that the PDF often contains data embedded within the file that is not necessarily something you want to keep. In this case, for example, if I open the purchased booklet PDF in my standard PDF viewer (on Linux distros that use KDE as their desktop environment, that's usually Okular) and select File → Properties, I see this:

Most of the stuff displayed in that properties dialog box is fine and perfectly normal, and wouldn't concern anyone… but what's that 'Producer' data? It's saying it's been produced by 'iText by lowagie.com…', but I haven't the faintest idea who they are, what tool they're using, or why they are entitled to a mention in my PDF metadata!

The short version of this blog post, therefore, is: how do I strip this sort of nonsense metadata out of my PDFs, so that my files are not silently tagged with data I don't want them to be tagged with?

Well, to fix this, you'll need two programs installed on your Linux box: exiftool and qpdf. You may find both tools already present in your distro, but on Kubuntu I had to install both with the command:

sudo apt install exiftool qpdf

Once both are installed, the metadata stripping process then basically begins with the command:

exiftool -all= *.pdf

Note the strange spacing around some of that. It's hyphen-all-equal-space, then the name of whatever PDF you're trying to 'clean'. So here's a worked example:

First, I cd to a test folder. There, I see that I own one PDF, with a name of 'The Film Music of William Alwyn, Volume 3.pdf'. I therefore type in the exiftool -all… command. A “minor” warning is produced (and I'll come back to this in a moment), but otherwise I'm able to list the contents of the folder once more -and, this time, I now have two PDFs: one called 'The Film Music of William Alwyn, Volume 3.pdf' and a new one called 'The Film Music of William Alwyn, Volume 3.pdf_original'.

This is a feature of the exiftool: it creates a new file, lacking metadata, with the same name as the original input file… but it also preserves the original file with a '_original' added to its file extension. It's trying hard not to be destructive, basically!

Crucially, however, here are the Okular file properties dialogue for the new, non-original, PDF:

You will immediately notice the absence of anything referring to Producer, iText or lowagie.com. The command has, indeed, stripped the unwanted metadata from my PDF! Result!!

Except… let's go back to that original warning message I received when I issued the exiftool command: Warning: [minor] ExifTool PDF edits are reversible. Deleted tags may be recovered!

The message is being pretty explicit: though the metadata for Producer is apparently gone, it's actually still there, under the hood, and could be recovered if desired. I don't mean by this, either, that we could delete the new PDF and rename the one currently called …_original back to being the same name as it had previously: obviously that would 'reverse' the metadata deletion, too, but that's not what's being referred to here.

Let's just issue this command to reverse the metadata deletion to prove the point:

exiftool -PDF-update:all= The\ Film\ Music\ of\ William\ Alwyn\,\ Volume\ 3.pdf

That's a command that's working on the 'metadata-less' version of the PDF… and yet it would still bring back the original metadata. Quite why the deletion process is reversible in this way, I have no idea: given the existence of an …_original… backup, it seems a bit redundant to me, but whatever… the issue becomes, whether we like it or not: how do we make the metadata deletion permanent.

Well, for that the qpdf tool must be employed, using a variation on the command:

qpdf --linearize --replace-input input-file-name.pdf

The 'replace-input' switch basically means that qpdf over-writes the input file, so that the file name doesn't change at all, but the contents of the file will now be over-written by the 'linearized' output. That basically means the PDF cannot be returned to the metadata-full state it was previously in.

In my case, therefore, I'd have to type:

qpdf --linearize --replace-input The\ Film\ Music\ of\ William\ Alwyn\,\ Volume\ 3.pdf

…but because I'm getting a bit fed up with those long file names with spaces and punctuation characters that all need escaping, I'd follow that up with a

mv -f *.pdf booklet-cleaned.pdf

…command so that the PDF we're now dealing with is called, simply, 'booklet-cleaned.pdf'. I can bolt that extra bit of processing onto the original command to produce a single command like this:

qpdf --linearize --replace-input The\ Film\ Music\ of\ William\ Alwyn\,\ Volume\ 3.pdf && mv *.pdf booklet-cleaned.pdf

It looks quite a messy command as a result, but the outcome is that my folder now contains two different PDFs:

The one called …pdf_original is, indeed, the original file, complete with unwanted metadata. The new 'booklet-cleaned.pdf' file is the output of the qpdf command: it's had its metadata irreversibly cleaned out and it's simultaneously been renamed to be 'booklet-cleaned.pdf', no matter the original file name that gave rise to it.

So, with two small bits of new software and a couple of commands in a terminal, it's possible to clean all your PDFs of unwanted and extraneous metadata fairly easily.

But, this being Linux, we can of course simplify the process even further! Here, for example, is a string of concatenated commands that will achieve the irreversible clean of metadata required, but without generating multiple intermediary files along the way:

exiftool -all= *.pdf && qpdf --linearize --replace-input *.pdf && mv *.pdf booklet-cleaned.pdf

The double-ampersands make the qpdf command run after the exiftool one completes. I've also used wildcards in the various input file names, so it doesn't matter what a PDF is called specifically: this combination of commands will always result in the correct processing of the relevant files, regardless of their names. Here, for example, is me processing a new PDF in the same test folder as I was previously using:

You can see that I start with a single PDF, as before. I then issue my wildcarded combo-command, and perform a final ls -l to list the folder contents: this time, I again see two PDFs listed: the original PDF and the irreversibly-cleaned version of it (which happens to now be called 'bookle-cleanedt.pdf').

All we really need at this point is some way to clear out all the PDF files which are not called 'booklet-cleaned.pdf' -as they are the original or intermediate files I'm not interested in retaining. Well, the simplest way I know of deleting files which aren't called something specific is to issue variations on this command:

find . -type f ! \( -name 'booklet-cleaned.pdf' -o -name '*.flac' -o -name '*.jpg' \) -delete

There are some naughty assumptions underlying this version of the command, which are going to be true for me… but might not be true for you, and could therefore wreak utter havoc! The command says 'find files whose names are not booklet-cleaned.pdf, or anything.flac, or anything.jpg. Everything you find matching those criteria, delete. No questions asked, and no possibility of a change of mind!

I structure things this way round because I know I will only ever run this 'clean my PDF' command in a folder of music in which Presto (or an equivalent digital music provider) has supplied a bunch of FLAC files, a booklet PDF of some name or other, and (probably) a JPG version of the album cover art. So I want to delete the intermediate PDFs, but I don't want to delete the FLACs or JPGs. Hence, I make specific exclusions for those types of files… but woe betide you if your music provider has included assorted .txt or .doc files, for those are not excluded from the delete, and so would disappear in an instant.

So, recognising in advance the danger of deleting files in bulk on the basis of 'not named like' tests, if I bolt that onto the previous combo command with a new set of double-ampersand characters, you get this:

exiftool -all= *.pdf && qpdf --linearize --replace-input *.pdf && mv -f *.pdf booklet-cleaned.pdf && find . -type f ! \( -name 'booklet-cleaned.pdf' -o -name '*.flac' -o -name '*.jpg' \) -delete

…and that will now do the entire convert, make irreversible and clean-up process in one hit, as you can see here:

Again, I start by listing the contents of my testing folder: it contains a single PDF with an elaborate composer-and-composition-specific name. I then issue the new exiftool+qpdf+find combo command, which appears to 'do stuff'. And finally, I issue a last 'ls' command… and find only a single PDF listed, called booklet-cleaned.pdf. All the intermediary files have gone, leaving only the irreversibly-cleaned PDF, with its standardised file name.

The only thing we really need to do at this point is tack on yet another command to the existing combo command to result in a rename of the 'booklet-cleaned.pdf' to a plain, simpler 'booklet.pdf'. This will do the trick:

exiftool -all= *.pdf && qpdf --linearize --replace-input *.pdf && mv -f *.pdf booklet-cleaned.pdf && find . -type f ! \( -name 'booklet-cleaned.pdf' -o -name '*.flac' -o -name '*.jpg' \) -delete && mv booklet-cleaned.pdf booklet.pdf

And that will do the trick: a single existing PDF will be permanently cleaned of extraneous metadata and then renamed to be 'booklet.pdf', without any surrounding FLACs or JPGs being damaged or modified or deleted in the process. Job done!

I now do just one final thing: I wrap that entire 'combo' command up into a single alias and stick it into my .bashrc file, so that I can invoke the long sequence of commands with a simple, short name. Here's my .bashrc entry for it, for example:

I've highlighted the relevant line. By saying alias cleanpdf='….<combo command>….', I've created a new, simply-named command called 'cleanpdf' which, when issued, will actually perform all the commands that are listed after the equals sign. Once that edit's in-place, and once I've opened a new terminal session so that the new alias is picked up and applied, I can now do this:

That is:

I once more start by listing the contents of my test folder and discover one, complicatedly-named PDF, plus a FLAC and a JPG.
I then issue the simple command cleanpdf.
A second, new file listing reveals the existence of a new booklet.pdf, which is the irreversibly-cleaned version of the earlier-listed PDF. The FLAC and the JPG are still there, too, however.

So now I have a one-word command that will do a lot of file converting, cleaning, and deleting… all of which results in the production of one, standardly-named PDF that is irreversibly clean of any unwanted metadata. Nice!

I should point out, of course, that the alias is assuming quite a lot of things in order to work. The principle assumption is: there's only one PDF to process in any given folder! If there's more than one PDF in a folder, the string of commands will break quite nastily. One could prevent that by pre-prending a count of files to the main alias command and only proceeding if the count is one. For example, if we change the aliased command to this:

[ $(ls *.pdf | wc -l) -eq 1 ] && exiftool -all= *.pdf && qpdf --linearize --replace-input *.pdf && mv -f *.pdf booklet-cleaned.pdf && find . -type f ! \( -name 'booklet-cleaned.pdf' -o -name '*.flac' -o -name '*.jpg' \) -delete && mv booklet-cleaned.pdf booklet.pdf

…then the first bit within the square brackets means 'only do all the subsequent exiftool, qpdf and find commands if the count of PDF files in this folder is exactly 1': we're taking advantage of the fact that in Bash and similar shells, concatenated commands only proceed if the prior command completes successfully. Since the square bracketed bit is saying 'the count of PDFs must be 1', if that part fails, the double-ampersanded following commands cannot be executed. Unfortunately, of course, this means that if processing fails, you won't know about it: the command will simply not clean the PDFs present, but will fail entirely silently.

Well, that can be fixed too:

[ $(ls *.pdf | wc -l) -eq 1 ] && exiftool -all= *.pdf && qpdf --linearize --replace-input *.pdf && mv -f *.pdf booklet-cleaned.pdf && find . -type f ! \( -name 'booklet-cleaned.pdf' -o -name '*.flac' -o -name '*.jpg' \) -delete && mv booklet-cleaned.pdf booklet.pdf || echo "Fail! Too many PDFs in this folder!"

The use of a double-pipe at the end of the command is the shell equivalent of 'or', so the whole command now means: if the PDF count is 1, then do all the cleaning commands, **or&& echo a message indicating failure.

And so on. There are probably lots of other assumptions being made which could similarly be tackled, piecemeal. I know some readers wouldn't want all their final output PDFs to be called 'booklet.pdf', for example. But I'm basically writing for me, and I'm reasonably confident that whatever other hidden assumptions there may be behind this sequence of commands, they can be lived with. Your mileage will, of course, vary.

I think the serious point here, however, is to take ownership of your PDFs as you do your FLACs. Digital music purveyors will supply you with PDFs that contain all manner of hidden metadata that you neither asked for nor require. By a little bit of coding and aliasing, you can give yourself the power to clean your PDFs of all this fluff as you choose.

composekey

Anonymous (anonymous@undisclosed.example.com) — 2026-01-31T14:32:26+00:00

{
    "\UF710" = {
        "\U0020" = {
            "\U0020" = ("insertText:", "\U00A0"); /* Compose, SPACE, SPACE: NO-BREAK SPACE */
            "\U0027" = ("insertText:", "\U0027"); /* Compose, SPACE, APOSTROPHE: APOSTROPHE */
            "\U0028" = ("insertText:", "\U02D8"); /* Compose, SPACE, LEFT PARENTHESIS: BREVE */
            "\U002C" = ("insertText:", "\U00B8"); /* Compose, SPACE, COMMA: CEDILLA */
            "\U002D" = ("insertText:", "\U007E"); /* Compose, SPACE, HYPHEN-MINUS: TILDE */
            "\U002E" = ("insertText:", "\U2008"); /* Compose, SPACE, FULL STOP: PUNCTUATION SPACE */
            "\U003C" = ("insertText:", "\U02C7"); /* Compose, SPACE, LESS-THAN SIGN: CARON */
            "\U003E" = ("insertText:", "\U005E"); /* Compose, SPACE, GREATER-THAN SIGN: CIRCUMFLEX ACCENT */
            "\U005E" = ("insertText:", "\U005E"); /* Compose, SPACE, CIRCUMFLEX ACCENT: CIRCUMFLEX ACCENT */
            "\U0060" = ("insertText:", "\U0060"); /* Compose, SPACE, GRAVE ACCENT: GRAVE ACCENT */
            "\U007E" = ("insertText:", "\U007E"); /* Compose, SPACE, TILDE: TILDE */
        };
        "\U0021" = {
            "\U0021" = ("insertText:", "\U00A1"); /* Compose, EXCLAMATION MARK, EXCLAMATION MARK: INVERTED EXCLAMATION MARK */
            "\U002B" = {
                "\U004F" = ("insertText:", "\U1EE2"); /* Compose, EXCLAMATION MARK, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN AND DOT BELOW */
                "\U0055" = ("insertText:", "\U1EF0"); /* Compose, EXCLAMATION MARK, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN AND DOT BELOW */
                "\U006F" = ("insertText:", "\U1EE3"); /* Compose, EXCLAMATION MARK, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN AND DOT BELOW */
                "\U0075" = ("insertText:", "\U1EF1"); /* Compose, EXCLAMATION MARK, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN AND DOT BELOW */
            };
            "\U003F" = ("insertText:", "\U203D"); /* Compose, EXCLAMATION MARK, QUESTION MARK: INTERROBANG */
            "\U0041" = ("insertText:", "\U1EA0"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DOT BELOW */
            "\U0042" = ("insertText:", "\U1E04"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER B: LATIN CAPITAL LETTER B WITH DOT BELOW */
            "\U0044" = ("insertText:", "\U1E0C"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH DOT BELOW */
            "\U0045" = ("insertText:", "\U1EB8"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH DOT BELOW */
            "\U0048" = ("insertText:", "\U1E24"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH DOT BELOW */
            "\U0049" = ("insertText:", "\U1ECA"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH DOT BELOW */
            "\U004B" = ("insertText:", "\U1E32"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER K: LATIN CAPITAL LETTER K WITH DOT BELOW */
            "\U004C" = ("insertText:", "\U1E36"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH DOT BELOW */
            "\U004D" = ("insertText:", "\U1E42"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER M: LATIN CAPITAL LETTER M WITH DOT BELOW */
            "\U004E" = ("insertText:", "\U1E46"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH DOT BELOW */
            "\U004F" = ("insertText:", "\U1ECC"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DOT BELOW */
            "\U0052" = ("insertText:", "\U1E5A"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH DOT BELOW */
            "\U0053" = ("insertText:", "\U1E62"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH DOT BELOW */
            "\U0054" = ("insertText:", "\U1E6C"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH DOT BELOW */
            "\U0055" = ("insertText:", "\U1EE4"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DOT BELOW */
            "\U0056" = ("insertText:", "\U1E7E"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER V: LATIN CAPITAL LETTER V WITH DOT BELOW */
            "\U0057" = ("insertText:", "\U1E88"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH DOT BELOW */
            "\U0059" = ("insertText:", "\U1EF4"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH DOT BELOW */
            "\U005A" = ("insertText:", "\U1E92"); /* Compose, EXCLAMATION MARK, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH DOT BELOW */
            "\U005E" = ("insertText:", "\U00A6"); /* Compose, EXCLAMATION MARK, CIRCUMFLEX ACCENT: BROKEN BAR */
            "\U0061" = ("insertText:", "\U1EA1"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DOT BELOW */
            "\U0062" = ("insertText:", "\U1E05"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER B: LATIN SMALL LETTER B WITH DOT BELOW */
            "\U0064" = ("insertText:", "\U1E0D"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH DOT BELOW */
            "\U0065" = ("insertText:", "\U1EB9"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH DOT BELOW */
            "\U0068" = ("insertText:", "\U1E25"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH DOT BELOW */
            "\U0069" = ("insertText:", "\U1ECB"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH DOT BELOW */
            "\U006B" = ("insertText:", "\U1E33"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER K: LATIN SMALL LETTER K WITH DOT BELOW */
            "\U006C" = ("insertText:", "\U1E37"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH DOT BELOW */
            "\U006D" = ("insertText:", "\U1E43"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER M: LATIN SMALL LETTER M WITH DOT BELOW */
            "\U006E" = ("insertText:", "\U1E47"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH DOT BELOW */
            "\U006F" = ("insertText:", "\U1ECD"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DOT BELOW */
            "\U0072" = ("insertText:", "\U1E5B"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH DOT BELOW */
            "\U0073" = ("insertText:", "\U1E63"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH DOT BELOW */
            "\U0074" = ("insertText:", "\U1E6D"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH DOT BELOW */
            "\U0075" = ("insertText:", "\U1EE5"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DOT BELOW */
            "\U0076" = ("insertText:", "\U1E7F"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER V: LATIN SMALL LETTER V WITH DOT BELOW */
            "\U0077" = ("insertText:", "\U1E89"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH DOT BELOW */
            "\U0079" = ("insertText:", "\U1EF5"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH DOT BELOW */
            "\U007A" = ("insertText:", "\U1E93"); /* Compose, EXCLAMATION MARK, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH DOT BELOW */
        };
        "\U0022" = {
            "\U0022" = ("insertText:", "\U00A8"); /* Compose, QUOTATION MARK, QUOTATION MARK: DIAERESIS */
            "\U0027" = ("insertText:", "\U0344"); /* Compose, QUOTATION MARK, APOSTROPHE: COMBINING GREEK DIALYTIKA TONOS */
            "\U002C" = ("insertText:", "\U201E"); /* Compose, QUOTATION MARK, COMMA: DOUBLE LOW-9 QUOTATION MARK */
            "\U003C" = ("insertText:", "\U201C"); /* Compose, QUOTATION MARK, LESS-THAN SIGN: LEFT DOUBLE QUOTATION MARK */
            "\U003E" = ("insertText:", "\U201D"); /* Compose, QUOTATION MARK, GREATER-THAN SIGN: RIGHT DOUBLE QUOTATION MARK */
            "\U0041" = ("insertText:", "\U00C4"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DIAERESIS */
            "\U0045" = ("insertText:", "\U00CB"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH DIAERESIS */
            "\U0048" = ("insertText:", "\U1E26"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH DIAERESIS */
            "\U0049" = ("insertText:", "\U00CF"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH DIAERESIS */
            "\U004F" = ("insertText:", "\U00D6"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DIAERESIS */
            "\U0055" = ("insertText:", "\U00DC"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS */
            "\U0057" = ("insertText:", "\U1E84"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH DIAERESIS */
            "\U0058" = ("insertText:", "\U1E8C"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER X: LATIN CAPITAL LETTER X WITH DIAERESIS */
            "\U0059" = ("insertText:", "\U0178"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH DIAERESIS */
            "\U005F" = {
                "\U0055" = ("insertText:", "\U1E7A"); /* Compose, QUOTATION MARK, LOW LINE, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH MACRON AND DIAERESIS */
                "\U0075" = ("insertText:", "\U1E7B"); /* Compose, QUOTATION MARK, LOW LINE, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH MACRON AND DIAERESIS */
            };
            "\U0061" = ("insertText:", "\U00E4"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DIAERESIS */
            "\U0065" = ("insertText:", "\U00EB"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH DIAERESIS */
            "\U0068" = ("insertText:", "\U1E27"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH DIAERESIS */
            "\U0069" = ("insertText:", "\U00EF"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH DIAERESIS */
            "\U006F" = ("insertText:", "\U00F6"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DIAERESIS */
            "\U0074" = ("insertText:", "\U1E97"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH DIAERESIS */
            "\U0075" = ("insertText:", "\U00FC"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS */
            "\U0077" = ("insertText:", "\U1E85"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH DIAERESIS */
            "\U0078" = ("insertText:", "\U1E8D"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER X: LATIN SMALL LETTER X WITH DIAERESIS */
            "\U0079" = ("insertText:", "\U00FF"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH DIAERESIS */
            "\U007E" = {
                "\U004F" = ("insertText:", "\U1E4E"); /* Compose, QUOTATION MARK, TILDE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE AND DIAERESIS */
                "\U006F" = ("insertText:", "\U1E4F"); /* Compose, QUOTATION MARK, TILDE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE AND DIAERESIS */
            };
            "\U00AF" = {
                "\U0055" = ("insertText:", "\U1E7A"); /* Compose, QUOTATION MARK, MACRON, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH MACRON AND DIAERESIS */
                "\U0075" = ("insertText:", "\U1E7B"); /* Compose, QUOTATION MARK, MACRON, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH MACRON AND DIAERESIS */
            };
            "\U00B4" = ("insertText:", "\U0344"); /* Compose, QUOTATION MARK, ACUTE ACCENT: COMBINING GREEK DIALYTIKA TONOS */
            "\U00D5" = ("insertText:", "\U1E4E"); /* Compose, QUOTATION MARK, LATIN CAPITAL LETTER O WITH TILDE: LATIN CAPITAL LETTER O WITH TILDE AND DIAERESIS */
            "\U00F5" = ("insertText:", "\U1E4F"); /* Compose, QUOTATION MARK, LATIN SMALL LETTER O WITH TILDE: LATIN SMALL LETTER O WITH TILDE AND DIAERESIS */
            "\U03D2" = ("insertText:", "\U03D4"); /* Compose, QUOTATION MARK, GREEK UPSILON WITH HOOK SYMBOL: GREEK UPSILON WITH DIAERESIS AND HOOK SYMBOL */
            "\U03DE" = ("insertText:", "\U1E7A"); /* Compose, QUOTATION MARK, GREEK LETTER KOPPA: LATIN CAPITAL LETTER U WITH MACRON AND DIAERESIS */
            "\U03FE" = ("insertText:", "\U1E7B"); /* Compose, QUOTATION MARK, GREEK CAPITAL DOTTED LUNATE SIGMA SYMBOL: LATIN SMALL LETTER U WITH MACRON AND DIAERESIS */
            "\U04D8" = ("insertText:", "\U04DA"); /* Compose, QUOTATION MARK, CYRILLIC CAPITAL LETTER SCHWA: CYRILLIC CAPITAL LETTER SCHWA WITH DIAERESIS */
            "\U04D9" = ("insertText:", "\U04DB"); /* Compose, QUOTATION MARK, CYRILLIC SMALL LETTER SCHWA: CYRILLIC SMALL LETTER SCHWA WITH DIAERESIS */
            "\U04E8" = ("insertText:", "\U04EA"); /* Compose, QUOTATION MARK, CYRILLIC CAPITAL LETTER BARRED O: CYRILLIC CAPITAL LETTER BARRED O WITH DIAERESIS */
            "\U04E9" = ("insertText:", "\U04EB"); /* Compose, QUOTATION MARK, CYRILLIC SMALL LETTER BARRED O: CYRILLIC SMALL LETTER BARRED O WITH DIAERESIS */
            "\U06A6" = ("insertText:", "\U0457"); /* Compose, QUOTATION MARK, ARABIC LETTER PEHEH: CYRILLIC SMALL LETTER YI */
            "\U06B6" = ("insertText:", "\U0407"); /* Compose, QUOTATION MARK, ARABIC LETTER LAM WITH DOT ABOVE: CYRILLIC CAPITAL LETTER YI */
            "\U06C1" = ("insertText:", "\U04D3"); /* Compose, QUOTATION MARK, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A WITH DIAERESIS */
            "\U06C5" = ("insertText:", "\U0451"); /* Compose, QUOTATION MARK, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IO */
            "\U06C9" = ("insertText:", "\U04E5"); /* Compose, QUOTATION MARK, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I WITH DIAERESIS */
            "\U06CF" = ("insertText:", "\U04E7"); /* Compose, QUOTATION MARK, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O WITH DIAERESIS */
            "\U06D5" = ("insertText:", "\U04F1"); /* Compose, QUOTATION MARK, ARABIC LETTER AE: CYRILLIC SMALL LETTER U WITH DIAERESIS */
            "\U06D6" = ("insertText:", "\U04DD"); /* Compose, QUOTATION MARK, ARABIC SMALL HIGH LIGATURE SAD WITH LAM WITH ALEF MAKSURA: CYRILLIC SMALL LETTER ZHE WITH DIAERESIS */
            "\U06D9" = ("insertText:", "\U04F9"); /* Compose, QUOTATION MARK, ARABIC SMALL HIGH LAM ALEF: CYRILLIC SMALL LETTER YERU WITH DIAERESIS */
            "\U06DA" = ("insertText:", "\U04DF"); /* Compose, QUOTATION MARK, ARABIC SMALL HIGH JEEM: CYRILLIC SMALL LETTER ZE WITH DIAERESIS */
            "\U06DC" = ("insertText:", "\U04ED"); /* Compose, QUOTATION MARK, ARABIC SMALL HIGH SEEN: CYRILLIC SMALL LETTER E WITH DIAERESIS */
            "\U06DE" = ("insertText:", "\U04F5"); /* Compose, QUOTATION MARK, ARABIC START OF RUB EL HIZB: CYRILLIC SMALL LETTER CHE WITH DIAERESIS */
            "\U06E1" = ("insertText:", "\U04D2"); /* Compose, QUOTATION MARK, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A WITH DIAERESIS */
            "\U06E5" = ("insertText:", "\U0401"); /* Compose, QUOTATION MARK, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IO */
            "\U06E9" = ("insertText:", "\U04E4"); /* Compose, QUOTATION MARK, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I WITH DIAERESIS */
            "\U06EF" = ("insertText:", "\U04E6"); /* Compose, QUOTATION MARK, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O WITH DIAERESIS */
            "\U06F5" = ("insertText:", "\U04F0"); /* Compose, QUOTATION MARK, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U WITH DIAERESIS */
            "\U06F6" = ("insertText:", "\U04DC"); /* Compose, QUOTATION MARK, EXTENDED ARABIC-INDIC DIGIT SIX: CYRILLIC CAPITAL LETTER ZHE WITH DIAERESIS */
            "\U06F9" = ("insertText:", "\U04F8"); /* Compose, QUOTATION MARK, EXTENDED ARABIC-INDIC DIGIT NINE: CYRILLIC CAPITAL LETTER YERU WITH DIAERESIS */
            "\U06FA" = ("insertText:", "\U04DE"); /* Compose, QUOTATION MARK, ARABIC LETTER SHEEN WITH DOT BELOW: CYRILLIC CAPITAL LETTER ZE WITH DIAERESIS */
            "\U06FC" = ("insertText:", "\U04EC"); /* Compose, QUOTATION MARK, ARABIC LETTER GHAIN WITH DOT BELOW: CYRILLIC CAPITAL LETTER E WITH DIAERESIS */
            "\U06FE" = ("insertText:", "\U04F4"); /* Compose, QUOTATION MARK, ARABIC SIGN SINDHI POSTPOSITION MEN: CYRILLIC CAPITAL LETTER CHE WITH DIAERESIS */
            "\U07C9" = ("insertText:", "\U03AA"); /* Compose, QUOTATION MARK, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH DIALYTIKA */
            "\U07D5" = ("insertText:", "\U03AB"); /* Compose, QUOTATION MARK, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH DIALYTIKA */
            "\U07E9" = ("insertText:", "\U03CA"); /* Compose, QUOTATION MARK, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DIALYTIKA */
            "\U07F5" = ("insertText:", "\U03CB"); /* Compose, QUOTATION MARK, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DIALYTIKA */
        };
        "\U0023" = {
            "\U0023" = ("insertText:", "\U266F"); /* Compose, NUMBER SIGN, NUMBER SIGN: MUSIC SHARP SIGN */
            "\U0045" = ("insertText:", "\U266B"); /* Compose, NUMBER SIGN, LATIN CAPITAL LETTER E: BEAMED EIGHTH NOTES */
            "\U0053" = ("insertText:", "\U266C"); /* Compose, NUMBER SIGN, LATIN CAPITAL LETTER S: BEAMED SIXTEENTH NOTES */
            "\U0062" = ("insertText:", "\U266D"); /* Compose, NUMBER SIGN, LATIN SMALL LETTER B: MUSIC FLAT SIGN */
            "\U0065" = ("insertText:", "\U266A"); /* Compose, NUMBER SIGN, LATIN SMALL LETTER E: EIGHTH NOTE */
            "\U0066" = ("insertText:", "\U266E"); /* Compose, NUMBER SIGN, LATIN SMALL LETTER F: MUSIC NATURAL SIGN */
            "\U0071" = ("insertText:", "\U2669"); /* Compose, NUMBER SIGN, LATIN SMALL LETTER Q: QUARTER NOTE */
        };
        "\U0025" = {
            "\U006F" = ("insertText:", "\U2030"); /* Compose, PERCENT SIGN, LATIN SMALL LETTER O: PER MILLE SIGN */
        };
        "\U0027" = {
            "\U0020" = ("insertText:", "\U0027"); /* Compose, APOSTROPHE, SPACE: APOSTROPHE */
            "\U0022" = {
                "\U0020" = ("insertText:", "\U0385"); /* Compose, APOSTROPHE, QUOTATION MARK, SPACE: GREEK DIALYTIKA TONOS */
                "\U0049" = ("insertText:", "\U1E2E"); /* Compose, APOSTROPHE, QUOTATION MARK, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH DIAERESIS AND ACUTE */
                "\U0055" = ("insertText:", "\U01D7"); /* Compose, APOSTROPHE, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS AND ACUTE */
                "\U0069" = ("insertText:", "\U1E2F"); /* Compose, APOSTROPHE, QUOTATION MARK, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH DIAERESIS AND ACUTE */
                "\U0075" = ("insertText:", "\U01D8"); /* Compose, APOSTROPHE, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS AND ACUTE */
                "\U07E9" = ("insertText:", "\U0390"); /* Compose, APOSTROPHE, QUOTATION MARK, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND TONOS */
                "\U07F5" = ("insertText:", "\U03B0"); /* Compose, APOSTROPHE, QUOTATION MARK, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND TONOS */
            };
            "\U0027" = ("insertText:", "\U00B4"); /* Compose, APOSTROPHE, APOSTROPHE: ACUTE ACCENT */
            "\U0028" = {
                "\U07C1" = ("insertText:", "\U1F0D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA */
                "\U07C5" = ("insertText:", "\U1F1D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH DASIA AND OXIA */
                "\U07C7" = ("insertText:", "\U1F2D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA */
                "\U07C9" = ("insertText:", "\U1F3D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH DASIA AND OXIA */
                "\U07CF" = ("insertText:", "\U1F4D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH DASIA AND OXIA */
                "\U07D5" = ("insertText:", "\U1F5D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND OXIA */
                "\U07D9" = ("insertText:", "\U1F6D"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA */
                "\U07E1" = ("insertText:", "\U1F05"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA */
                "\U07E5" = ("insertText:", "\U1F15"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH DASIA AND OXIA */
                "\U07E7" = ("insertText:", "\U1F25"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND OXIA */
                "\U07E9" = ("insertText:", "\U1F35"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DASIA AND OXIA */
                "\U07EF" = ("insertText:", "\U1F45"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH DASIA AND OXIA */
                "\U07F5" = ("insertText:", "\U1F55"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DASIA AND OXIA */
                "\U07F9" = ("insertText:", "\U1F65"); /* Compose, APOSTROPHE, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA */
            };
            "\U0029" = {
                "\U07C1" = ("insertText:", "\U1F0C"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA */
                "\U07C5" = ("insertText:", "\U1F1C"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH PSILI AND OXIA */
                "\U07C7" = ("insertText:", "\U1F2C"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA */
                "\U07C9" = ("insertText:", "\U1F3C"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH PSILI AND OXIA */
                "\U07CF" = ("insertText:", "\U1F4C"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH PSILI AND OXIA */
                "\U07D9" = ("insertText:", "\U1F6C"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA */
                "\U07E1" = ("insertText:", "\U1F04"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA */
                "\U07E5" = ("insertText:", "\U1F14"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH PSILI AND OXIA */
                "\U07E7" = ("insertText:", "\U1F24"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND OXIA */
                "\U07E9" = ("insertText:", "\U1F34"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH PSILI AND OXIA */
                "\U07EF" = ("insertText:", "\U1F44"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH PSILI AND OXIA */
                "\U07F5" = ("insertText:", "\U1F54"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH PSILI AND OXIA */
                "\U07F9" = ("insertText:", "\U1F64"); /* Compose, APOSTROPHE, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA */
            };
            "\U002B" = {
                "\U004F" = ("insertText:", "\U1EDA"); /* Compose, APOSTROPHE, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN AND ACUTE */
                "\U0055" = ("insertText:", "\U1EE8"); /* Compose, APOSTROPHE, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN AND ACUTE */
                "\U006F" = ("insertText:", "\U1EDB"); /* Compose, APOSTROPHE, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN AND ACUTE */
                "\U0075" = ("insertText:", "\U1EE9"); /* Compose, APOSTROPHE, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN AND ACUTE */
            };
            "\U002C" = ("insertText:", "\U201A"); /* Compose, APOSTROPHE, COMMA: SINGLE LOW-9 QUOTATION MARK */
            "\U002F" = {
                "\U004F" = ("insertText:", "\U01FE"); /* Compose, APOSTROPHE, SOLIDUS, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH STROKE AND ACUTE */
                "\U006F" = ("insertText:", "\U01FF"); /* Compose, APOSTROPHE, SOLIDUS, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH STROKE AND ACUTE */
            };
            "\U003C" = ("insertText:", "\U2018"); /* Compose, APOSTROPHE, LESS-THAN SIGN: LEFT SINGLE QUOTATION MARK */
            "\U003E" = ("insertText:", "\U2019"); /* Compose, APOSTROPHE, GREATER-THAN SIGN: RIGHT SINGLE QUOTATION MARK */
            "\U0041" = ("insertText:", "\U00C1"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH ACUTE */
            "\U0043" = ("insertText:", "\U0106"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH ACUTE */
            "\U0045" = ("insertText:", "\U00C9"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH ACUTE */
            "\U0047" = ("insertText:", "\U01F4"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH ACUTE */
            "\U0049" = ("insertText:", "\U00CD"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH ACUTE */
            "\U004B" = ("insertText:", "\U1E30"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER K: LATIN CAPITAL LETTER K WITH ACUTE */
            "\U004C" = ("insertText:", "\U0139"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH ACUTE */
            "\U004D" = ("insertText:", "\U1E3E"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER M: LATIN CAPITAL LETTER M WITH ACUTE */
            "\U004E" = ("insertText:", "\U0143"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH ACUTE */
            "\U004F" = ("insertText:", "\U00D3"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH ACUTE */
            "\U0050" = ("insertText:", "\U1E54"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER P: LATIN CAPITAL LETTER P WITH ACUTE */
            "\U0052" = ("insertText:", "\U0154"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH ACUTE */
            "\U0053" = ("insertText:", "\U015A"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH ACUTE */
            "\U0055" = ("insertText:", "\U00DA"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH ACUTE */
            "\U0057" = ("insertText:", "\U1E82"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH ACUTE */
            "\U0059" = ("insertText:", "\U00DD"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH ACUTE */
            "\U005A" = ("insertText:", "\U0179"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH ACUTE */
            "\U005E" = {
                "\U0041" = ("insertText:", "\U1EA4"); /* Compose, APOSTROPHE, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND ACUTE */
                "\U0045" = ("insertText:", "\U1EBE"); /* Compose, APOSTROPHE, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND ACUTE */
                "\U004F" = ("insertText:", "\U1ED0"); /* Compose, APOSTROPHE, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND ACUTE */
                "\U0061" = ("insertText:", "\U1EA5"); /* Compose, APOSTROPHE, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX AND ACUTE */
                "\U0065" = ("insertText:", "\U1EBF"); /* Compose, APOSTROPHE, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX AND ACUTE */
                "\U006F" = ("insertText:", "\U1ED1"); /* Compose, APOSTROPHE, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX AND ACUTE */
            };
            "\U005F" = {
                "\U0045" = ("insertText:", "\U1E16"); /* Compose, APOSTROPHE, LOW LINE, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON AND ACUTE */
                "\U004F" = ("insertText:", "\U1E52"); /* Compose, APOSTROPHE, LOW LINE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON AND ACUTE */
                "\U0065" = ("insertText:", "\U1E17"); /* Compose, APOSTROPHE, LOW LINE, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON AND ACUTE */
                "\U006F" = ("insertText:", "\U1E53"); /* Compose, APOSTROPHE, LOW LINE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON AND ACUTE */
            };
            "\U0061" = ("insertText:", "\U00E1"); /* Compose, APOSTROPHE, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH ACUTE */
            "\U0062" = {
                "\U0041" = ("insertText:", "\U1EAE"); /* Compose, APOSTROPHE, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND ACUTE */
                "\U0061" = ("insertText:", "\U1EAF"); /* Compose, APOSTROPHE, LATIN SMALL LETTER B, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND ACUTE */
            };
            "\U0063" = ("insertText:", "\U0107"); /* Compose, APOSTROPHE, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH ACUTE */
            "\U0065" = ("insertText:", "\U00E9"); /* Compose, APOSTROPHE, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH ACUTE */
            "\U0067" = ("insertText:", "\U01F5"); /* Compose, APOSTROPHE, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH ACUTE */
            "\U0069" = ("insertText:", "\U00ED"); /* Compose, APOSTROPHE, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH ACUTE */
            "\U006B" = ("insertText:", "\U1E31"); /* Compose, APOSTROPHE, LATIN SMALL LETTER K: LATIN SMALL LETTER K WITH ACUTE */
            "\U006C" = ("insertText:", "\U013A"); /* Compose, APOSTROPHE, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH ACUTE */
            "\U006D" = ("insertText:", "\U1E3F"); /* Compose, APOSTROPHE, LATIN SMALL LETTER M: LATIN SMALL LETTER M WITH ACUTE */
            "\U006E" = ("insertText:", "\U0144"); /* Compose, APOSTROPHE, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH ACUTE */
            "\U006F" = ("insertText:", "\U00F3"); /* Compose, APOSTROPHE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH ACUTE */
            "\U0070" = ("insertText:", "\U1E55"); /* Compose, APOSTROPHE, LATIN SMALL LETTER P: LATIN SMALL LETTER P WITH ACUTE */
            "\U0072" = ("insertText:", "\U0155"); /* Compose, APOSTROPHE, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH ACUTE */
            "\U0073" = ("insertText:", "\U015B"); /* Compose, APOSTROPHE, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH ACUTE */
            "\U0075" = ("insertText:", "\U00FA"); /* Compose, APOSTROPHE, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH ACUTE */
            "\U0077" = ("insertText:", "\U1E83"); /* Compose, APOSTROPHE, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH ACUTE */
            "\U0079" = ("insertText:", "\U00FD"); /* Compose, APOSTROPHE, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH ACUTE */
            "\U007A" = ("insertText:", "\U017A"); /* Compose, APOSTROPHE, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH ACUTE */
            "\U007E" = {
                "\U004F" = ("insertText:", "\U1E4C"); /* Compose, APOSTROPHE, TILDE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE AND ACUTE */
                "\U0055" = ("insertText:", "\U1E78"); /* Compose, APOSTROPHE, TILDE, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH TILDE AND ACUTE */
                "\U006F" = ("insertText:", "\U1E4D"); /* Compose, APOSTROPHE, TILDE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE AND ACUTE */
                "\U0075" = ("insertText:", "\U1E79"); /* Compose, APOSTROPHE, TILDE, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH TILDE AND ACUTE */
            };
            "\U00AF" = {
                "\U0045" = ("insertText:", "\U1E16"); /* Compose, APOSTROPHE, MACRON, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON AND ACUTE */
                "\U004F" = ("insertText:", "\U1E52"); /* Compose, APOSTROPHE, MACRON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON AND ACUTE */
                "\U0065" = ("insertText:", "\U1E17"); /* Compose, APOSTROPHE, MACRON, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON AND ACUTE */
                "\U006F" = ("insertText:", "\U1E53"); /* Compose, APOSTROPHE, MACRON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON AND ACUTE */
            };
            "\U00B8" = {
                "\U0043" = ("insertText:", "\U1E08"); /* Compose, APOSTROPHE, CEDILLA, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CEDILLA AND ACUTE */
                "\U0063" = ("insertText:", "\U1E09"); /* Compose, APOSTROPHE, CEDILLA, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CEDILLA AND ACUTE */
            };
            "\U00C2" = ("insertText:", "\U1EA4"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER A WITH CIRCUMFLEX: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND ACUTE */
            "\U00C5" = ("insertText:", "\U01FA"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER A WITH RING ABOVE: LATIN CAPITAL LETTER A WITH RING ABOVE AND ACUTE */
            "\U00C6" = ("insertText:", "\U01FC"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER AE: LATIN CAPITAL LETTER AE WITH ACUTE */
            "\U00C7" = ("insertText:", "\U1E08"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER C WITH CEDILLA: LATIN CAPITAL LETTER C WITH CEDILLA AND ACUTE */
            "\U00CA" = ("insertText:", "\U1EBE"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER E WITH CIRCUMFLEX: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND ACUTE */
            "\U00CF" = ("insertText:", "\U1E2E"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER I WITH DIAERESIS: LATIN CAPITAL LETTER I WITH DIAERESIS AND ACUTE */
            "\U00D4" = ("insertText:", "\U1ED0"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER O WITH CIRCUMFLEX: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND ACUTE */
            "\U00D5" = ("insertText:", "\U1E4C"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER O WITH TILDE: LATIN CAPITAL LETTER O WITH TILDE AND ACUTE */
            "\U00D8" = ("insertText:", "\U01FE"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER O WITH STROKE: LATIN CAPITAL LETTER O WITH STROKE AND ACUTE */
            "\U00DC" = ("insertText:", "\U01D7"); /* Compose, APOSTROPHE, LATIN CAPITAL LETTER U WITH DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS AND ACUTE */
            "\U00E2" = ("insertText:", "\U1EA5"); /* Compose, APOSTROPHE, LATIN SMALL LETTER A WITH CIRCUMFLEX: LATIN SMALL LETTER A WITH CIRCUMFLEX AND ACUTE */
            "\U00E5" = ("insertText:", "\U01FB"); /* Compose, APOSTROPHE, LATIN SMALL LETTER A WITH RING ABOVE: LATIN SMALL LETTER A WITH RING ABOVE AND ACUTE */
            "\U00E6" = ("insertText:", "\U01FD"); /* Compose, APOSTROPHE, LATIN SMALL LETTER AE: LATIN SMALL LETTER AE WITH ACUTE */
            "\U00E7" = ("insertText:", "\U1E09"); /* Compose, APOSTROPHE, LATIN SMALL LETTER C WITH CEDILLA: LATIN SMALL LETTER C WITH CEDILLA AND ACUTE */
            "\U00EA" = ("insertText:", "\U1EBF"); /* Compose, APOSTROPHE, LATIN SMALL LETTER E WITH CIRCUMFLEX: LATIN SMALL LETTER E WITH CIRCUMFLEX AND ACUTE */
            "\U00EF" = ("insertText:", "\U1E2F"); /* Compose, APOSTROPHE, LATIN SMALL LETTER I WITH DIAERESIS: LATIN SMALL LETTER I WITH DIAERESIS AND ACUTE */
            "\U00F4" = ("insertText:", "\U1ED1"); /* Compose, APOSTROPHE, LATIN SMALL LETTER O WITH CIRCUMFLEX: LATIN SMALL LETTER O WITH CIRCUMFLEX AND ACUTE */
            "\U00F5" = ("insertText:", "\U1E4D"); /* Compose, APOSTROPHE, LATIN SMALL LETTER O WITH TILDE: LATIN SMALL LETTER O WITH TILDE AND ACUTE */
            "\U00F8" = ("insertText:", "\U01FF"); /* Compose, APOSTROPHE, LATIN SMALL LETTER O WITH STROKE: LATIN SMALL LETTER O WITH STROKE AND ACUTE */
            "\U00FC" = ("insertText:", "\U01D8"); /* Compose, APOSTROPHE, LATIN SMALL LETTER U WITH DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS AND ACUTE */
            "\U01C3" = ("insertText:", "\U1EAE"); /* Compose, APOSTROPHE, LATIN LETTER RETROFLEX CLICK: LATIN CAPITAL LETTER A WITH BREVE AND ACUTE */
            "\U01E3" = ("insertText:", "\U1EAF"); /* Compose, APOSTROPHE, LATIN SMALL LETTER AE WITH MACRON: LATIN SMALL LETTER A WITH BREVE AND ACUTE */
            "\U03AA" = ("insertText:", "\U1E16"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER IOTA WITH DIALYTIKA: LATIN CAPITAL LETTER E WITH MACRON AND ACUTE */
            "\U03BA" = ("insertText:", "\U1E17"); /* Compose, APOSTROPHE, GREEK SMALL LETTER KAPPA: LATIN SMALL LETTER E WITH MACRON AND ACUTE */
            "\U03D2" = ("insertText:", "\U1E52"); /* Compose, APOSTROPHE, GREEK UPSILON WITH HOOK SYMBOL: LATIN CAPITAL LETTER O WITH MACRON AND ACUTE */
            "\U03DD" = ("insertText:", "\U1E78"); /* Compose, APOSTROPHE, GREEK SMALL LETTER DIGAMMA: LATIN CAPITAL LETTER U WITH TILDE AND ACUTE */
            "\U03F2" = ("insertText:", "\U1E53"); /* Compose, APOSTROPHE, GREEK LUNATE SIGMA SYMBOL: LATIN SMALL LETTER O WITH MACRON AND ACUTE */
            "\U03FD" = ("insertText:", "\U1E79"); /* Compose, APOSTROPHE, GREEK CAPITAL REVERSED LUNATE SIGMA SYMBOL: LATIN SMALL LETTER U WITH TILDE AND ACUTE */
            "\U06C1" = ("insertText:", "\U0430"); /* Compose, APOSTROPHE, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
            "\U06C5" = ("insertText:", "\U0435"); /* Compose, APOSTROPHE, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE */
            "\U06C7" = ("insertText:", "\U0453"); /* Compose, APOSTROPHE, ARABIC LETTER U: CYRILLIC SMALL LETTER GJE */
            "\U06C9" = ("insertText:", "\U0438"); /* Compose, APOSTROPHE, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I */
            "\U06CB" = ("insertText:", "\U045C"); /* Compose, APOSTROPHE, ARABIC LETTER VE: CYRILLIC SMALL LETTER KJE */
            "\U06CF" = ("insertText:", "\U043E"); /* Compose, APOSTROPHE, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
            "\U06D2" = ("insertText:", "\U0440"); /* Compose, APOSTROPHE, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
            "\U06D5" = ("insertText:", "\U0443"); /* Compose, APOSTROPHE, ARABIC LETTER AE: CYRILLIC SMALL LETTER U */
            "\U06E1" = ("insertText:", "\U0410"); /* Compose, APOSTROPHE, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
            "\U06E5" = ("insertText:", "\U0415"); /* Compose, APOSTROPHE, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE */
            "\U06E7" = ("insertText:", "\U0403"); /* Compose, APOSTROPHE, ARABIC SMALL HIGH YEH: CYRILLIC CAPITAL LETTER GJE */
            "\U06E9" = ("insertText:", "\U0418"); /* Compose, APOSTROPHE, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I */
            "\U06EB" = ("insertText:", "\U040C"); /* Compose, APOSTROPHE, ARABIC EMPTY CENTRE HIGH STOP: CYRILLIC CAPITAL LETTER KJE */
            "\U06EF" = ("insertText:", "\U041E"); /* Compose, APOSTROPHE, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
            "\U06F2" = ("insertText:", "\U0420"); /* Compose, APOSTROPHE, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
            "\U06F5" = ("insertText:", "\U0423"); /* Compose, APOSTROPHE, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U */
            "\U07B5" = ("insertText:", "\U0390"); /* Compose, APOSTROPHE, unknown: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND TONOS */
            "\U07B9" = ("insertText:", "\U03B0"); /* Compose, APOSTROPHE, unknown: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND TONOS */
            "\U07C1" = ("insertText:", "\U0386"); /* Compose, APOSTROPHE, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH TONOS */
            "\U07C5" = ("insertText:", "\U0388"); /* Compose, APOSTROPHE, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH TONOS */
            "\U07C7" = ("insertText:", "\U0389"); /* Compose, APOSTROPHE, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH TONOS */
            "\U07C9" = ("insertText:", "\U038A"); /* Compose, APOSTROPHE, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH TONOS */
            "\U07CF" = ("insertText:", "\U038C"); /* Compose, APOSTROPHE, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH TONOS */
            "\U07D5" = ("insertText:", "\U038E"); /* Compose, APOSTROPHE, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH TONOS */
            "\U07D9" = ("insertText:", "\U038F"); /* Compose, APOSTROPHE, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH TONOS */
            "\U07E1" = ("insertText:", "\U03AC"); /* Compose, APOSTROPHE, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH TONOS */
            "\U07E5" = ("insertText:", "\U03AD"); /* Compose, APOSTROPHE, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH TONOS */
            "\U07E7" = ("insertText:", "\U03AE"); /* Compose, APOSTROPHE, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH TONOS */
            "\U07E9" = ("insertText:", "\U03AF"); /* Compose, APOSTROPHE, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH TONOS */
            "\U07EF" = ("insertText:", "\U03CC"); /* Compose, APOSTROPHE, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH TONOS */
            "\U07F5" = ("insertText:", "\U03CD"); /* Compose, APOSTROPHE, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH TONOS */
            "\U07F9" = ("insertText:", "\U03CE"); /* Compose, APOSTROPHE, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH TONOS */
            "\U1F00" = ("insertText:", "\U1F04"); /* Compose, APOSTROPHE, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA */
            "\U1F01" = ("insertText:", "\U1F05"); /* Compose, APOSTROPHE, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA */
            "\U1F08" = ("insertText:", "\U1F0C"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA */
            "\U1F09" = ("insertText:", "\U1F0D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA */
            "\U1F10" = ("insertText:", "\U1F14"); /* Compose, APOSTROPHE, GREEK SMALL LETTER EPSILON WITH PSILI: GREEK SMALL LETTER EPSILON WITH PSILI AND OXIA */
            "\U1F11" = ("insertText:", "\U1F15"); /* Compose, APOSTROPHE, GREEK SMALL LETTER EPSILON WITH DASIA: GREEK SMALL LETTER EPSILON WITH DASIA AND OXIA */
            "\U1F18" = ("insertText:", "\U1F1C"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER EPSILON WITH PSILI: GREEK CAPITAL LETTER EPSILON WITH PSILI AND OXIA */
            "\U1F19" = ("insertText:", "\U1F1D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER EPSILON WITH DASIA: GREEK CAPITAL LETTER EPSILON WITH DASIA AND OXIA */
            "\U1F20" = ("insertText:", "\U1F24"); /* Compose, APOSTROPHE, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND OXIA */
            "\U1F21" = ("insertText:", "\U1F25"); /* Compose, APOSTROPHE, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND OXIA */
            "\U1F28" = ("insertText:", "\U1F2C"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA */
            "\U1F29" = ("insertText:", "\U1F2D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA */
            "\U1F30" = ("insertText:", "\U1F34"); /* Compose, APOSTROPHE, GREEK SMALL LETTER IOTA WITH PSILI: GREEK SMALL LETTER IOTA WITH PSILI AND OXIA */
            "\U1F31" = ("insertText:", "\U1F35"); /* Compose, APOSTROPHE, GREEK SMALL LETTER IOTA WITH DASIA: GREEK SMALL LETTER IOTA WITH DASIA AND OXIA */
            "\U1F38" = ("insertText:", "\U1F3C"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER IOTA WITH PSILI: GREEK CAPITAL LETTER IOTA WITH PSILI AND OXIA */
            "\U1F39" = ("insertText:", "\U1F3D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER IOTA WITH DASIA: GREEK CAPITAL LETTER IOTA WITH DASIA AND OXIA */
            "\U1F40" = ("insertText:", "\U1F44"); /* Compose, APOSTROPHE, GREEK SMALL LETTER OMICRON WITH PSILI: GREEK SMALL LETTER OMICRON WITH PSILI AND OXIA */
            "\U1F41" = ("insertText:", "\U1F45"); /* Compose, APOSTROPHE, GREEK SMALL LETTER OMICRON WITH DASIA: GREEK SMALL LETTER OMICRON WITH DASIA AND OXIA */
            "\U1F48" = ("insertText:", "\U1F4C"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER OMICRON WITH PSILI: GREEK CAPITAL LETTER OMICRON WITH PSILI AND OXIA */
            "\U1F49" = ("insertText:", "\U1F4D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER OMICRON WITH DASIA: GREEK CAPITAL LETTER OMICRON WITH DASIA AND OXIA */
            "\U1F50" = ("insertText:", "\U1F54"); /* Compose, APOSTROPHE, GREEK SMALL LETTER UPSILON WITH PSILI: GREEK SMALL LETTER UPSILON WITH PSILI AND OXIA */
            "\U1F51" = ("insertText:", "\U1F55"); /* Compose, APOSTROPHE, GREEK SMALL LETTER UPSILON WITH DASIA: GREEK SMALL LETTER UPSILON WITH DASIA AND OXIA */
            "\U1F59" = ("insertText:", "\U1F5D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER UPSILON WITH DASIA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND OXIA */
            "\U1F60" = ("insertText:", "\U1F64"); /* Compose, APOSTROPHE, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA */
            "\U1F61" = ("insertText:", "\U1F65"); /* Compose, APOSTROPHE, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA */
            "\U1F68" = ("insertText:", "\U1F6C"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA */
            "\U1F69" = ("insertText:", "\U1F6D"); /* Compose, APOSTROPHE, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA */
            "\UFFAF" = {
                "\U004F" = ("insertText:", "\U01FE"); /* Compose, APOSTROPHE, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH STROKE AND ACUTE */
                "\U006F" = ("insertText:", "\U01FF"); /* Compose, APOSTROPHE, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH STROKE AND ACUTE */
            };
        };
        "\U0028" = {
            "\U0020" = ("insertText:", "\U02D8"); /* Compose, LEFT PARENTHESIS, SPACE: BREVE */
            "\U0028" = ("insertText:", "\U005B"); /* Compose, LEFT PARENTHESIS, LEFT PARENTHESIS: LEFT SQUARE BRACKET */
            "\U002D" = ("insertText:", "\U007B"); /* Compose, LEFT PARENTHESIS, HYPHEN-MINUS: LEFT CURLY BRACKET */
            "\U0030" = {
                "\U0029" = ("insertText:", "\U24EA"); /* Compose, LEFT PARENTHESIS, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED DIGIT ZERO */
            };
            "\U0031" = {
                "\U0029" = ("insertText:", "\U2460"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED DIGIT ONE */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U2469"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER TEN */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U246A"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER ELEVEN */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U246B"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER TWELVE */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U246C"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTEEN */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U246D"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER FOURTEEN */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U246E"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTEEN */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U246F"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER SIXTEEN */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U2470"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER SEVENTEEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U2471"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER EIGHTEEN */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U2472"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER NINETEEN */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U246B"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER TWELVE */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U2469"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER TEN */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U246A"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER ELEVEN */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U246B"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWELVE */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U246C"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTEEN */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U246D"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FOURTEEN */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U246E"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTEEN */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U246F"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER SIXTEEN */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U2470"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER SEVENTEEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U2471"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER EIGHTEEN */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U2472"); /* Compose, LEFT PARENTHESIS, DIGIT ONE, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER NINETEEN */
                };
            };
            "\U0032" = {
                "\U0029" = ("insertText:", "\U2461"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED DIGIT TWO */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U2473"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U3251"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U3253"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U3254"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U3255"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U3256"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U3257"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U3258"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U3259"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U2473"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U3251"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U3253"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U3254"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U3255"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U3256"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U3257"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U3258"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U3259"); /* Compose, LEFT PARENTHESIS, DIGIT TWO, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY NINE */
                };
            };
            "\U0033" = {
                "\U0029" = ("insertText:", "\U2462"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED DIGIT THREE */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U325A"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U325B"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U325C"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U325D"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U325E"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U325F"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U32B1"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U32B2"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U32B3"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U32B4"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U325C"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U325A"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U325B"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U325C"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U325D"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U325E"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U325F"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U32B1"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U32B2"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U32B3"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U32B4"); /* Compose, LEFT PARENTHESIS, DIGIT THREE, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY NINE */
                };
            };
            "\U0034" = {
                "\U0029" = ("insertText:", "\U2463"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED DIGIT FOUR */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U32B5"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U32B6"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U32B7"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U32B8"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U32B9"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U32BA"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U32BB"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U32BC"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U32BD"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U32BE"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U32B7"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U32B5"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U32B6"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U32B7"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U32B8"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U32B9"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U32BA"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U32BB"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U32BC"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U32BD"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U32BE"); /* Compose, LEFT PARENTHESIS, DIGIT FOUR, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY NINE */
                };
            };
            "\U0035" = {
                "\U0029" = ("insertText:", "\U2464"); /* Compose, LEFT PARENTHESIS, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED DIGIT FIVE */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U32BF"); /* Compose, LEFT PARENTHESIS, DIGIT FIVE, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTY */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U32BF"); /* Compose, LEFT PARENTHESIS, DIGIT FIVE, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTY */
                };
            };
            "\U0036" = {
                "\U0029" = ("insertText:", "\U2465"); /* Compose, LEFT PARENTHESIS, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED DIGIT SIX */
            };
            "\U0037" = {
                "\U0029" = ("insertText:", "\U2466"); /* Compose, LEFT PARENTHESIS, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED DIGIT SEVEN */
            };
            "\U0038" = {
                "\U0029" = ("insertText:", "\U2467"); /* Compose, LEFT PARENTHESIS, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED DIGIT EIGHT */
            };
            "\U0039" = {
                "\U0029" = ("insertText:", "\U2468"); /* Compose, LEFT PARENTHESIS, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED DIGIT NINE */
            };
            "\U0041" = {
                "\U0029" = ("insertText:", "\U24B6"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER A, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER A */
            };
            "\U0042" = {
                "\U0029" = ("insertText:", "\U24B7"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER B, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER B */
            };
            "\U0043" = {
                "\U0029" = ("insertText:", "\U24B8"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER C, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER C */
            };
            "\U0044" = {
                "\U0029" = ("insertText:", "\U24B9"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER D, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER D */
            };
            "\U0045" = {
                "\U0029" = ("insertText:", "\U24BA"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER E, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER E */
            };
            "\U0046" = {
                "\U0029" = ("insertText:", "\U24BB"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER F, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER F */
            };
            "\U0047" = {
                "\U0029" = ("insertText:", "\U24BC"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER G, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER G */
            };
            "\U0048" = {
                "\U0029" = ("insertText:", "\U24BD"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER H, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER H */
            };
            "\U0049" = {
                "\U0029" = ("insertText:", "\U24BE"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER I, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER I */
            };
            "\U004A" = {
                "\U0029" = ("insertText:", "\U24BF"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER J, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER J */
            };
            "\U004B" = {
                "\U0029" = ("insertText:", "\U24C0"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER K, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER K */
            };
            "\U004C" = {
                "\U0029" = ("insertText:", "\U24C1"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER L, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER L */
            };
            "\U004D" = {
                "\U0029" = ("insertText:", "\U24C2"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER M, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER M */
            };
            "\U004E" = {
                "\U0029" = ("insertText:", "\U24C3"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER N, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER N */
            };
            "\U004F" = {
                "\U0029" = ("insertText:", "\U24C4"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER O, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER O */
            };
            "\U0050" = {
                "\U0029" = ("insertText:", "\U24C5"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER P, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER P */
            };
            "\U0051" = {
                "\U0029" = ("insertText:", "\U24C6"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER Q, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER Q */
            };
            "\U0052" = {
                "\U0029" = ("insertText:", "\U24C7"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER R, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER R */
            };
            "\U0053" = {
                "\U0029" = ("insertText:", "\U24C8"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER S, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER S */
            };
            "\U0054" = {
                "\U0029" = ("insertText:", "\U24C9"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER T, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER T */
            };
            "\U0055" = {
                "\U0029" = ("insertText:", "\U24CA"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER U, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER U */
            };
            "\U0056" = {
                "\U0029" = ("insertText:", "\U24CB"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER V, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER V */
            };
            "\U0057" = {
                "\U0029" = ("insertText:", "\U24CC"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER W, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER W */
            };
            "\U0058" = {
                "\U0029" = ("insertText:", "\U24CD"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER X, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER X */
            };
            "\U0059" = {
                "\U0029" = ("insertText:", "\U24CE"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER Y, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER Y */
            };
            "\U005A" = {
                "\U0029" = ("insertText:", "\U24CF"); /* Compose, LEFT PARENTHESIS, LATIN CAPITAL LETTER Z, RIGHT PARENTHESIS: CIRCLED LATIN CAPITAL LETTER Z */
            };
            "\U0061" = {
                "\U0029" = ("insertText:", "\U24D0"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER A, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER A */
            };
            "\U0062" = {
                "\U0029" = ("insertText:", "\U24D1"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER B, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER B */
            };
            "\U0063" = {
                "\U0029" = ("insertText:", "\U24D2"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER C, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER C */
            };
            "\U0064" = {
                "\U0029" = ("insertText:", "\U24D3"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER D, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER D */
            };
            "\U0065" = {
                "\U0029" = ("insertText:", "\U24D4"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER E, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER E */
            };
            "\U0066" = {
                "\U0029" = ("insertText:", "\U24D5"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER F, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER F */
            };
            "\U0067" = {
                "\U0029" = ("insertText:", "\U24D6"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER G, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER G */
            };
            "\U0068" = {
                "\U0029" = ("insertText:", "\U24D7"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER H, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER H */
            };
            "\U0069" = {
                "\U0029" = ("insertText:", "\U24D8"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER I, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER I */
            };
            "\U006A" = {
                "\U0029" = ("insertText:", "\U24D9"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER J, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER J */
            };
            "\U006B" = {
                "\U0029" = ("insertText:", "\U24DA"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER K, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER K */
            };
            "\U006C" = {
                "\U0029" = ("insertText:", "\U24DB"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER L, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER L */
            };
            "\U006D" = {
                "\U0029" = ("insertText:", "\U24DC"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER M, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER M */
            };
            "\U006E" = {
                "\U0029" = ("insertText:", "\U24DD"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER N, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER N */
            };
            "\U006F" = {
                "\U0029" = ("insertText:", "\U24DE"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER O, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER O */
            };
            "\U0070" = {
                "\U0029" = ("insertText:", "\U24DF"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER P, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER P */
            };
            "\U0071" = {
                "\U0029" = ("insertText:", "\U24E0"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER Q, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER Q */
            };
            "\U0072" = {
                "\U0029" = ("insertText:", "\U24E1"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER R, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER R */
            };
            "\U0073" = {
                "\U0029" = ("insertText:", "\U24E2"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER S, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER S */
            };
            "\U0074" = {
                "\U0029" = ("insertText:", "\U24E3"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER T, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER T */
            };
            "\U0075" = {
                "\U0029" = ("insertText:", "\U24E4"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER U, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER U */
            };
            "\U0076" = {
                "\U0029" = ("insertText:", "\U24E5"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER V, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER V */
            };
            "\U0077" = {
                "\U0029" = ("insertText:", "\U24E6"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER W, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER W */
            };
            "\U0078" = {
                "\U0029" = ("insertText:", "\U24E7"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER X, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER X */
            };
            "\U0079" = {
                "\U0029" = ("insertText:", "\U24E8"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER Y, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER Y */
            };
            "\U007A" = {
                "\U0029" = ("insertText:", "\U24E9"); /* Compose, LEFT PARENTHESIS, LATIN SMALL LETTER Z, RIGHT PARENTHESIS: CIRCLED LATIN SMALL LETTER Z */
            };
            "\U04A6" = {
                "\U0029" = ("insertText:", "\U32FE"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER PE WITH MIDDLE HOOK, RIGHT PARENTHESIS: CIRCLED KATAKANA WO */
            };
            "\U04B1" = {
                "\U0029" = ("insertText:", "\U32D0"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER STRAIGHT U WITH STROKE, RIGHT PARENTHESIS: CIRCLED KATAKANA A */
            };
            "\U04B2" = {
                "\U0029" = ("insertText:", "\U32D1"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER HA WITH DESCENDER, RIGHT PARENTHESIS: CIRCLED KATAKANA I */
            };
            "\U04B3" = {
                "\U0029" = ("insertText:", "\U32D2"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER HA WITH DESCENDER, RIGHT PARENTHESIS: CIRCLED KATAKANA U */
            };
            "\U04B4" = {
                "\U0029" = ("insertText:", "\U32D3"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LIGATURE TE TSE, RIGHT PARENTHESIS: CIRCLED KATAKANA E */
            };
            "\U04B5" = {
                "\U0029" = ("insertText:", "\U32D4"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LIGATURE TE TSE, RIGHT PARENTHESIS: CIRCLED KATAKANA O */
            };
            "\U04B6" = {
                "\U0029" = ("insertText:", "\U32D5"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER CHE WITH DESCENDER, RIGHT PARENTHESIS: CIRCLED KATAKANA KA */
            };
            "\U04B7" = {
                "\U0029" = ("insertText:", "\U32D6"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER CHE WITH DESCENDER, RIGHT PARENTHESIS: CIRCLED KATAKANA KI */
            };
            "\U04B8" = {
                "\U0029" = ("insertText:", "\U32D7"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER CHE WITH VERTICAL STROKE, RIGHT PARENTHESIS: CIRCLED KATAKANA KU */
            };
            "\U04B9" = {
                "\U0029" = ("insertText:", "\U32D8"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER CHE WITH VERTICAL STROKE, RIGHT PARENTHESIS: CIRCLED KATAKANA KE */
            };
            "\U04BA" = {
                "\U0029" = ("insertText:", "\U32D9"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER SHHA, RIGHT PARENTHESIS: CIRCLED KATAKANA KO */
            };
            "\U04BB" = {
                "\U0029" = ("insertText:", "\U32DA"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER SHHA, RIGHT PARENTHESIS: CIRCLED KATAKANA SA */
            };
            "\U04BC" = {
                "\U0029" = ("insertText:", "\U32DB"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER ABKHASIAN CHE, RIGHT PARENTHESIS: CIRCLED KATAKANA SI */
            };
            "\U04BD" = {
                "\U0029" = ("insertText:", "\U32DC"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER ABKHASIAN CHE, RIGHT PARENTHESIS: CIRCLED KATAKANA SU */
            };
            "\U04BE" = {
                "\U0029" = ("insertText:", "\U32DD"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER ABKHASIAN CHE WITH DESCENDER, RIGHT PARENTHESIS: CIRCLED KATAKANA SE */
            };
            "\U04BF" = {
                "\U0029" = ("insertText:", "\U32DE"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER ABKHASIAN CHE WITH DESCENDER, RIGHT PARENTHESIS: CIRCLED KATAKANA SO */
            };
            "\U04C0" = {
                "\U0029" = ("insertText:", "\U32DF"); /* Compose, LEFT PARENTHESIS, CYRILLIC LETTER PALOCHKA, RIGHT PARENTHESIS: CIRCLED KATAKANA TA */
            };
            "\U04C1" = {
                "\U0029" = ("insertText:", "\U32E0"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER ZHE WITH BREVE, RIGHT PARENTHESIS: CIRCLED KATAKANA TI */
            };
            "\U04C2" = {
                "\U0029" = ("insertText:", "\U32E1"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER ZHE WITH BREVE, RIGHT PARENTHESIS: CIRCLED KATAKANA TU */
            };
            "\U04C3" = {
                "\U0029" = ("insertText:", "\U32E2"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER KA WITH HOOK, RIGHT PARENTHESIS: CIRCLED KATAKANA TE */
            };
            "\U04C4" = {
                "\U0029" = ("insertText:", "\U32E3"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER KA WITH HOOK, RIGHT PARENTHESIS: CIRCLED KATAKANA TO */
            };
            "\U04C5" = {
                "\U0029" = ("insertText:", "\U32E4"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER EL WITH TAIL, RIGHT PARENTHESIS: CIRCLED KATAKANA NA */
            };
            "\U04C6" = {
                "\U0029" = ("insertText:", "\U32E5"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER EL WITH TAIL, RIGHT PARENTHESIS: CIRCLED KATAKANA NI */
            };
            "\U04C7" = {
                "\U0029" = ("insertText:", "\U32E6"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER EN WITH HOOK, RIGHT PARENTHESIS: CIRCLED KATAKANA NU */
            };
            "\U04C8" = {
                "\U0029" = ("insertText:", "\U32E7"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER EN WITH HOOK, RIGHT PARENTHESIS: CIRCLED KATAKANA NE */
            };
            "\U04C9" = {
                "\U0029" = ("insertText:", "\U32E8"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER EN WITH TAIL, RIGHT PARENTHESIS: CIRCLED KATAKANA NO */
            };
            "\U04CA" = {
                "\U0029" = ("insertText:", "\U32E9"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER EN WITH TAIL, RIGHT PARENTHESIS: CIRCLED KATAKANA HA */
            };
            "\U04CB" = {
                "\U0029" = ("insertText:", "\U32EA"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER KHAKASSIAN CHE, RIGHT PARENTHESIS: CIRCLED KATAKANA HI */
            };
            "\U04CC" = {
                "\U0029" = ("insertText:", "\U32EB"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER KHAKASSIAN CHE, RIGHT PARENTHESIS: CIRCLED KATAKANA HU */
            };
            "\U04CD" = {
                "\U0029" = ("insertText:", "\U32EC"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER EM WITH TAIL, RIGHT PARENTHESIS: CIRCLED KATAKANA HE */
            };
            "\U04CE" = {
                "\U0029" = ("insertText:", "\U32ED"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER EM WITH TAIL, RIGHT PARENTHESIS: CIRCLED KATAKANA HO */
            };
            "\U04CF" = {
                "\U0029" = ("insertText:", "\U32EE"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER PALOCHKA, RIGHT PARENTHESIS: CIRCLED KATAKANA MA */
            };
            "\U04D0" = {
                "\U0029" = ("insertText:", "\U32EF"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER A WITH BREVE, RIGHT PARENTHESIS: CIRCLED KATAKANA MI */
            };
            "\U04D1" = {
                "\U0029" = ("insertText:", "\U32F0"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER A WITH BREVE, RIGHT PARENTHESIS: CIRCLED KATAKANA MU */
            };
            "\U04D2" = {
                "\U0029" = ("insertText:", "\U32F1"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER A WITH DIAERESIS, RIGHT PARENTHESIS: CIRCLED KATAKANA ME */
            };
            "\U04D3" = {
                "\U0029" = ("insertText:", "\U32F2"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER A WITH DIAERESIS, RIGHT PARENTHESIS: CIRCLED KATAKANA MO */
            };
            "\U04D4" = {
                "\U0029" = ("insertText:", "\U32F3"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LIGATURE A IE, RIGHT PARENTHESIS: CIRCLED KATAKANA YA */
            };
            "\U04D5" = {
                "\U0029" = ("insertText:", "\U32F4"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LIGATURE A IE, RIGHT PARENTHESIS: CIRCLED KATAKANA YU */
            };
            "\U04D6" = {
                "\U0029" = ("insertText:", "\U32F5"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER IE WITH BREVE, RIGHT PARENTHESIS: CIRCLED KATAKANA YO */
            };
            "\U04D7" = {
                "\U0029" = ("insertText:", "\U32F6"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER IE WITH BREVE, RIGHT PARENTHESIS: CIRCLED KATAKANA RA */
            };
            "\U04D8" = {
                "\U0029" = ("insertText:", "\U32F7"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER SCHWA, RIGHT PARENTHESIS: CIRCLED KATAKANA RI */
            };
            "\U04D9" = {
                "\U0029" = ("insertText:", "\U32F8"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER SCHWA, RIGHT PARENTHESIS: CIRCLED KATAKANA RU */
            };
            "\U04DA" = {
                "\U0029" = ("insertText:", "\U32F9"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER SCHWA WITH DIAERESIS, RIGHT PARENTHESIS: CIRCLED KATAKANA RE */
            };
            "\U04DB" = {
                "\U0029" = ("insertText:", "\U32FA"); /* Compose, LEFT PARENTHESIS, CYRILLIC SMALL LETTER SCHWA WITH DIAERESIS, RIGHT PARENTHESIS: CIRCLED KATAKANA RO */
            };
            "\U04DC" = {
                "\U0029" = ("insertText:", "\U32FB"); /* Compose, LEFT PARENTHESIS, CYRILLIC CAPITAL LETTER ZHE WITH DIAERESIS, RIGHT PARENTHESIS: CIRCLED KATAKANA WA */
            };
            "\U07C1" = ("insertText:", "\U1F09"); /* Compose, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA */
            "\U07C5" = ("insertText:", "\U1F19"); /* Compose, LEFT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH DASIA */
            "\U07C7" = ("insertText:", "\U1F29"); /* Compose, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA */
            "\U07C9" = ("insertText:", "\U1F39"); /* Compose, LEFT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH DASIA */
            "\U07CF" = ("insertText:", "\U1F49"); /* Compose, LEFT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH DASIA */
            "\U07D1" = ("insertText:", "\U1FEC"); /* Compose, LEFT PARENTHESIS, NKO LETTER DAGBASINNA: GREEK CAPITAL LETTER RHO WITH DASIA */
            "\U07D5" = ("insertText:", "\U1F59"); /* Compose, LEFT PARENTHESIS, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH DASIA */
            "\U07D9" = ("insertText:", "\U1F69"); /* Compose, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA */
            "\U07E1" = ("insertText:", "\U1F01"); /* Compose, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA */
            "\U07E5" = ("insertText:", "\U1F11"); /* Compose, LEFT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH DASIA */
            "\U07E7" = ("insertText:", "\U1F21"); /* Compose, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA */
            "\U07E9" = ("insertText:", "\U1F31"); /* Compose, LEFT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DASIA */
            "\U07EF" = ("insertText:", "\U1F41"); /* Compose, LEFT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH DASIA */
            "\U07F1" = ("insertText:", "\U1FE5"); /* Compose, LEFT PARENTHESIS, NKO COMBINING LONG RISING TONE: GREEK SMALL LETTER RHO WITH DASIA */
            "\U07F5" = ("insertText:", "\U1F51"); /* Compose, LEFT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DASIA */
            "\U07F9" = ("insertText:", "\U1F61"); /* Compose, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA */
            "\U1100" = {
                "\U0029" = ("insertText:", "\U3260"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG KIYEOK, RIGHT PARENTHESIS: CIRCLED HANGUL KIYEOK */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U326E"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG KIYEOK, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL KIYEOK A */
                };
            };
            "\U1102" = {
                "\U0029" = ("insertText:", "\U3261"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG NIEUN, RIGHT PARENTHESIS: CIRCLED HANGUL NIEUN */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U326F"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG NIEUN, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL NIEUN A */
                };
            };
            "\U1103" = {
                "\U0029" = ("insertText:", "\U3262"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG TIKEUT, RIGHT PARENTHESIS: CIRCLED HANGUL TIKEUT */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3270"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG TIKEUT, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL TIKEUT A */
                };
            };
            "\U1105" = {
                "\U0029" = ("insertText:", "\U3263"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG RIEUL, RIGHT PARENTHESIS: CIRCLED HANGUL RIEUL */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3271"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG RIEUL, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL RIEUL A */
                };
            };
            "\U1106" = {
                "\U0029" = ("insertText:", "\U3264"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG MIEUM, RIGHT PARENTHESIS: CIRCLED HANGUL MIEUM */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3272"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG MIEUM, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL MIEUM A */
                };
            };
            "\U1107" = {
                "\U0029" = ("insertText:", "\U3265"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG PIEUP, RIGHT PARENTHESIS: CIRCLED HANGUL PIEUP */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3273"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG PIEUP, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL PIEUP A */
                };
            };
            "\U1109" = {
                "\U0029" = ("insertText:", "\U3266"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG SIOS, RIGHT PARENTHESIS: CIRCLED HANGUL SIOS */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3274"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG SIOS, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL SIOS A */
                };
            };
            "\U110B" = {
                "\U0029" = ("insertText:", "\U3267"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG IEUNG, RIGHT PARENTHESIS: CIRCLED HANGUL IEUNG */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3275"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG IEUNG, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL IEUNG A */
                };
            };
            "\U110C" = {
                "\U0029" = ("insertText:", "\U3268"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG CIEUC, RIGHT PARENTHESIS: CIRCLED HANGUL CIEUC */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3276"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG CIEUC, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL CIEUC A */
                };
            };
            "\U110E" = {
                "\U0029" = ("insertText:", "\U3269"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG CHIEUCH, RIGHT PARENTHESIS: CIRCLED HANGUL CHIEUCH */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3277"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG CHIEUCH, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL CHIEUCH A */
                };
            };
            "\U110F" = {
                "\U0029" = ("insertText:", "\U326A"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG KHIEUKH, RIGHT PARENTHESIS: CIRCLED HANGUL KHIEUKH */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3278"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG KHIEUKH, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL KHIEUKH A */
                };
            };
            "\U1110" = {
                "\U0029" = ("insertText:", "\U326B"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG THIEUTH, RIGHT PARENTHESIS: CIRCLED HANGUL THIEUTH */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U3279"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG THIEUTH, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL THIEUTH A */
                };
            };
            "\U1111" = {
                "\U0029" = ("insertText:", "\U326C"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG PHIEUPH, RIGHT PARENTHESIS: CIRCLED HANGUL PHIEUPH */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U327A"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG PHIEUPH, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL PHIEUPH A */
                };
            };
            "\U1112" = {
                "\U0029" = ("insertText:", "\U326D"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG HIEUH, RIGHT PARENTHESIS: CIRCLED HANGUL HIEUH */
                "\U1161" = {
                    "\U0029" = ("insertText:", "\U327B"); /* Compose, LEFT PARENTHESIS, HANGUL CHOSEONG HIEUH, HANGUL JUNGSEONG A, RIGHT PARENTHESIS: CIRCLED HANGUL HIEUH A */
                };
            };
            "\U30F0" = {
                "\U0029" = ("insertText:", "\U32FC"); /* Compose, LEFT PARENTHESIS, KATAKANA LETTER WI, RIGHT PARENTHESIS: CIRCLED KATAKANA WI */
            };
            "\U30F1" = {
                "\U0029" = ("insertText:", "\U32FD"); /* Compose, LEFT PARENTHESIS, KATAKANA LETTER WE, RIGHT PARENTHESIS: CIRCLED KATAKANA WE */
            };
            "\U4E00" = {
                "\U0029" = ("insertText:", "\U3280"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E00, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH ONE */
            };
            "\U4E03" = {
                "\U0029" = ("insertText:", "\U3286"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E03, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SEVEN */
            };
            "\U4E09" = {
                "\U0029" = ("insertText:", "\U3282"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E09, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH THREE */
            };
            "\U4E0A" = {
                "\U0029" = ("insertText:", "\U32A4"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E0A, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH HIGH */
            };
            "\U4E0B" = {
                "\U0029" = ("insertText:", "\U32A6"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E0B, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH LOW */
            };
            "\U4E2D" = {
                "\U0029" = ("insertText:", "\U32A5"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E2D, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH CENTRE */
            };
            "\U4E5D" = {
                "\U0029" = ("insertText:", "\U3288"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E5D, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH NINE */
            };
            "\U4E8C" = {
                "\U0029" = ("insertText:", "\U3281"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E8C, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH TWO */
            };
            "\U4E94" = {
                "\U0029" = ("insertText:", "\U3284"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4E94, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH FIVE */
            };
            "\U4F01" = {
                "\U0029" = ("insertText:", "\U32AD"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4F01, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH ENTERPRISE */
            };
            "\U4F11" = {
                "\U0029" = ("insertText:", "\U32A1"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-4F11, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH REST */
            };
            "\U512A" = {
                "\U0029" = ("insertText:", "\U329D"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-512A, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH EXCELLENT */
            };
            "\U516B" = {
                "\U0029" = ("insertText:", "\U3287"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-516B, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH EIGHT */
            };
            "\U516D" = {
                "\U0029" = ("insertText:", "\U3285"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-516D, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SIX */
            };
            "\U5199" = {
                "\U0029" = ("insertText:", "\U32A2"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5199, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH COPY */
            };
            "\U52B4" = {
                "\U0029" = ("insertText:", "\U3298"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-52B4, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH LABOR */
            };
            "\U533B" = {
                "\U0029" = ("insertText:", "\U32A9"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-533B, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH MEDICINE */
            };
            "\U5341" = {
                "\U0029" = ("insertText:", "\U3289"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5341, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH TEN */
            };
            "\U5354" = {
                "\U0029" = ("insertText:", "\U32AF"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5354, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH ALLIANCE */
            };
            "\U5370" = {
                "\U0029" = ("insertText:", "\U329E"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5370, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH PRINT */
            };
            "\U53F3" = {
                "\U0029" = ("insertText:", "\U32A8"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-53F3, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH RIGHT */
            };
            "\U540D" = {
                "\U0029" = ("insertText:", "\U3294"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-540D, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH NAME */
            };
            "\U56DB" = {
                "\U0029" = ("insertText:", "\U3283"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-56DB, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH FOUR */
            };
            "\U571F" = {
                "\U0029" = ("insertText:", "\U328F"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-571F, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH EARTH */
            };
            "\U591C" = {
                "\U0029" = ("insertText:", "\U32B0"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-591C, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH NIGHT */
            };
            "\U5973" = {
                "\U0029" = ("insertText:", "\U329B"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5973, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH FEMALE */
            };
            "\U5B66" = {
                "\U0029" = ("insertText:", "\U32AB"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5B66, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH STUDY */
            };
            "\U5B97" = {
                "\U0029" = ("insertText:", "\U32AA"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5B97, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH RELIGION */
            };
            "\U5DE6" = {
                "\U0029" = ("insertText:", "\U32A7"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-5DE6, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH LEFT */
            };
            "\U65E5" = {
                "\U0029" = ("insertText:", "\U3290"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-65E5, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SUN */
            };
            "\U6708" = {
                "\U0029" = ("insertText:", "\U328A"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-6708, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH MOON */
            };
            "\U6709" = {
                "\U0029" = ("insertText:", "\U3292"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-6709, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH HAVE */
            };
            "\U6728" = {
                "\U0029" = ("insertText:", "\U328D"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-6728, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH WOOD */
            };
            "\U682A" = {
                "\U0029" = ("insertText:", "\U3291"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-682A, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH STOCK */
            };
            "\U6B63" = {
                "\U0029" = ("insertText:", "\U32A3"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-6B63, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH CORRECT */
            };
            "\U6C34" = {
                "\U0029" = ("insertText:", "\U328C"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-6C34, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH WATER */
            };
            "\U6CE8" = {
                "\U0029" = ("insertText:", "\U329F"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-6CE8, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH ATTENTION */
            };
            "\U706B" = {
                "\U0029" = ("insertText:", "\U328B"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-706B, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH FIRE */
            };
            "\U7279" = {
                "\U0029" = ("insertText:", "\U3295"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-7279, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SPECIAL */
            };
            "\U7537" = {
                "\U0029" = ("insertText:", "\U329A"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-7537, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH MALE */
            };
            "\U76E3" = {
                "\U0029" = ("insertText:", "\U32AC"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-76E3, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SUPERVISE */
            };
            "\U793E" = {
                "\U0029" = ("insertText:", "\U3293"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-793E, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SOCIETY */
            };
            "\U795D" = {
                "\U0029" = ("insertText:", "\U3297"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-795D, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH CONGRATULATION */
            };
            "\U79D8" = {
                "\U0029" = ("insertText:", "\U3299"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-79D8, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SECRET */
            };
            "\U8CA1" = {
                "\U0029" = ("insertText:", "\U3296"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-8CA1, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH FINANCIAL */
            };
            "\U8CC7" = {
                "\U0029" = ("insertText:", "\U32AE"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-8CC7, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH RESOURCE */
            };
            "\U9069" = {
                "\U0029" = ("insertText:", "\U329C"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-9069, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH SUITABLE */
            };
            "\U91D1" = {
                "\U0029" = ("insertText:", "\U328E"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-91D1, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH METAL */
            };
            "\U9805" = {
                "\U0029" = ("insertText:", "\U32A0"); /* Compose, LEFT PARENTHESIS, CJK UNIFIED IDEOGRAPH-9805, RIGHT PARENTHESIS: CIRCLED IDEOGRAPH ITEM */
            };
            "\UFF80" = {
                "\U0029" = ("insertText:", "\U2461"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED DIGIT TWO */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U2473"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U3251"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U3253"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U3254"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U3255"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U3256"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U3257"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U3258"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U3259"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U2473"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U3251"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U3253"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U3254"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U3255"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U3256"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U3257"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U3258"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U3259"); /* Compose, LEFT PARENTHESIS, HALFWIDTH KATAKANA LETTER TA, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY NINE */
                };
            };
            "\UFFB0" = {
                "\U0029" = ("insertText:", "\U24EA"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED DIGIT ZERO */
            };
            "\UFFB1" = {
                "\U0029" = ("insertText:", "\U2460"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED DIGIT ONE */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U2469"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER TEN */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U246A"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER ELEVEN */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U246B"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER TWELVE */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U246C"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTEEN */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U246D"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER FOURTEEN */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U246E"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTEEN */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U246F"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER SIXTEEN */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U2470"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER SEVENTEEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U2471"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER EIGHTEEN */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U2472"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER NINETEEN */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U246B"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER TWELVE */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U2469"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER TEN */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U246A"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER ELEVEN */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U246B"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWELVE */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U246C"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTEEN */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U246D"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FOURTEEN */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U246E"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTEEN */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U246F"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER SIXTEEN */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U2470"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER SEVENTEEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U2471"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER EIGHTEEN */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U2472"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER MIEUM, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER NINETEEN */
                };
            };
            "\UFFB2" = {
                "\U0029" = ("insertText:", "\U2461"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED DIGIT TWO */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U2473"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U3251"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U3253"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U3254"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U3255"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U3256"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U3257"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U3258"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U3259"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U2473"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U3251"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U3252"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U3253"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U3254"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U3255"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U3256"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U3257"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U3258"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U3259"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER TWENTY NINE */
                };
            };
            "\UFFB3" = {
                "\U0029" = ("insertText:", "\U2462"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED DIGIT THREE */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U325A"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U325B"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U325C"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U325D"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U325E"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U325F"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U32B1"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U32B2"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U32B3"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U32B4"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U325C"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U325A"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U325B"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U325C"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U325D"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U325E"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U325F"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U32B1"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U32B2"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U32B3"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U32B4"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGPIEUP, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER THIRTY NINE */
                };
            };
            "\UFFB4" = {
                "\U0029" = ("insertText:", "\U2463"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED DIGIT FOUR */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U32B5"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY */
                };
                "\U0031" = {
                    "\U0029" = ("insertText:", "\U32B6"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT ONE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY ONE */
                };
                "\U0032" = {
                    "\U0029" = ("insertText:", "\U32B7"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT TWO, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY TWO */
                };
                "\U0033" = {
                    "\U0029" = ("insertText:", "\U32B8"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT THREE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY THREE */
                };
                "\U0034" = {
                    "\U0029" = ("insertText:", "\U32B9"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT FOUR, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FOUR */
                };
                "\U0035" = {
                    "\U0029" = ("insertText:", "\U32BA"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT FIVE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FIVE */
                };
                "\U0036" = {
                    "\U0029" = ("insertText:", "\U32BB"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT SIX, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SIX */
                };
                "\U0037" = {
                    "\U0029" = ("insertText:", "\U32BC"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT SEVEN, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SEVEN */
                };
                "\U0038" = {
                    "\U0029" = ("insertText:", "\U32BD"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT EIGHT, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY EIGHT */
                };
                "\U0039" = {
                    "\U0029" = ("insertText:", "\U32BE"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, DIGIT NINE, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY NINE */
                };
                "\UFF80" = {
                    "\U0029" = ("insertText:", "\U32B7"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH KATAKANA LETTER TA, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY TWO */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U32B5"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY */
                };
                "\UFFB1" = {
                    "\U0029" = ("insertText:", "\U32B6"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER MIEUM, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY ONE */
                };
                "\UFFB2" = {
                    "\U0029" = ("insertText:", "\U32B7"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER PIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY TWO */
                };
                "\UFFB3" = {
                    "\U0029" = ("insertText:", "\U32B8"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER SSANGPIEUP, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY THREE */
                };
                "\UFFB4" = {
                    "\U0029" = ("insertText:", "\U32B9"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FOUR */
                };
                "\UFFB5" = {
                    "\U0029" = ("insertText:", "\U32BA"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY FIVE */
                };
                "\UFFB6" = {
                    "\U0029" = ("insertText:", "\U32BB"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SIX */
                };
                "\UFFB7" = {
                    "\U0029" = ("insertText:", "\U32BC"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY SEVEN */
                };
                "\UFFB8" = {
                    "\U0029" = ("insertText:", "\U32BD"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY EIGHT */
                };
                "\UFFB9" = {
                    "\U0029" = ("insertText:", "\U32BE"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER PIEUP-SIOS, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED NUMBER FORTY NINE */
                };
            };
            "\UFFB5" = {
                "\U0029" = ("insertText:", "\U2464"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SIOS, RIGHT PARENTHESIS: CIRCLED DIGIT FIVE */
                "\U0030" = {
                    "\U0029" = ("insertText:", "\U32BF"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SIOS, DIGIT ZERO, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTY */
                };
                "\UFFB0" = {
                    "\U0029" = ("insertText:", "\U32BF"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SIOS, HALFWIDTH HANGUL LETTER RIEUL-HIEUH, RIGHT PARENTHESIS: CIRCLED NUMBER FIFTY */
                };
            };
            "\UFFB6" = {
                "\U0029" = ("insertText:", "\U2465"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGSIOS, RIGHT PARENTHESIS: CIRCLED DIGIT SIX */
            };
            "\UFFB7" = {
                "\U0029" = ("insertText:", "\U2466"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER IEUNG, RIGHT PARENTHESIS: CIRCLED DIGIT SEVEN */
            };
            "\UFFB8" = {
                "\U0029" = ("insertText:", "\U2467"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER CIEUC, RIGHT PARENTHESIS: CIRCLED DIGIT EIGHT */
            };
            "\UFFB9" = {
                "\U0029" = ("insertText:", "\U2468"); /* Compose, LEFT PARENTHESIS, HALFWIDTH HANGUL LETTER SSANGCIEUC, RIGHT PARENTHESIS: CIRCLED DIGIT NINE */
            };
        };
        "\U0029" = {
            "\U0029" = ("insertText:", "\U005D"); /* Compose, RIGHT PARENTHESIS, RIGHT PARENTHESIS: RIGHT SQUARE BRACKET */
            "\U002D" = ("insertText:", "\U007D"); /* Compose, RIGHT PARENTHESIS, HYPHEN-MINUS: RIGHT CURLY BRACKET */
            "\U07C1" = ("insertText:", "\U1F08"); /* Compose, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI */
            "\U07C5" = ("insertText:", "\U1F18"); /* Compose, RIGHT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH PSILI */
            "\U07C7" = ("insertText:", "\U1F28"); /* Compose, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI */
            "\U07C9" = ("insertText:", "\U1F38"); /* Compose, RIGHT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH PSILI */
            "\U07CF" = ("insertText:", "\U1F48"); /* Compose, RIGHT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH PSILI */
            "\U07D9" = ("insertText:", "\U1F68"); /* Compose, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI */
            "\U07E1" = ("insertText:", "\U1F00"); /* Compose, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI */
            "\U07E5" = ("insertText:", "\U1F10"); /* Compose, RIGHT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH PSILI */
            "\U07E7" = ("insertText:", "\U1F20"); /* Compose, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI */
            "\U07E9" = ("insertText:", "\U1F30"); /* Compose, RIGHT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH PSILI */
            "\U07EF" = ("insertText:", "\U1F40"); /* Compose, RIGHT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH PSILI */
            "\U07F1" = ("insertText:", "\U1FE4"); /* Compose, RIGHT PARENTHESIS, NKO COMBINING LONG RISING TONE: GREEK SMALL LETTER RHO WITH PSILI */
            "\U07F5" = ("insertText:", "\U1F50"); /* Compose, RIGHT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH PSILI */
            "\U07F9" = ("insertText:", "\U1F60"); /* Compose, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI */
        };
        "\U002A" = {
            "\U0027" = {
                "\U0041" = ("insertText:", "\U01FA"); /* Compose, ASTERISK, APOSTROPHE, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH RING ABOVE AND ACUTE */
                "\U0061" = ("insertText:", "\U01FB"); /* Compose, ASTERISK, APOSTROPHE, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH RING ABOVE AND ACUTE */
            };
            "\U0030" = ("insertText:", "\U00B0"); /* Compose, ASTERISK, DIGIT ZERO: DEGREE SIGN */
            "\U0041" = ("insertText:", "\U00C5"); /* Compose, ASTERISK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH RING ABOVE */
            "\U0055" = ("insertText:", "\U016E"); /* Compose, ASTERISK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH RING ABOVE */
            "\U0061" = ("insertText:", "\U00E5"); /* Compose, ASTERISK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH RING ABOVE */
            "\U0075" = ("insertText:", "\U016F"); /* Compose, ASTERISK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH RING ABOVE */
        };
        "\U002B" = {
            "\U002B" = ("insertText:", "\U0023"); /* Compose, PLUS SIGN, PLUS SIGN: NUMBER SIGN */
            "\U002D" = ("insertText:", "\U00B1"); /* Compose, PLUS SIGN, HYPHEN-MINUS: PLUS-MINUS SIGN */
            "\U004F" = ("insertText:", "\U01A0"); /* Compose, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN */
            "\U0055" = ("insertText:", "\U01AF"); /* Compose, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN */
            "\U006F" = ("insertText:", "\U01A1"); /* Compose, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN */
            "\U0075" = ("insertText:", "\U01B0"); /* Compose, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN */
        };
        "\U002C" = {
            "\U0020" = ("insertText:", "\U00B8"); /* Compose, COMMA, SPACE: CEDILLA */
            "\U0022" = ("insertText:", "\U201E"); /* Compose, COMMA, QUOTATION MARK: DOUBLE LOW-9 QUOTATION MARK */
            "\U0027" = ("insertText:", "\U201A"); /* Compose, COMMA, APOSTROPHE: SINGLE LOW-9 QUOTATION MARK */
            "\U002C" = ("insertText:", "\U00B8"); /* Compose, COMMA, COMMA: CEDILLA */
            "\U002D" = ("insertText:", "\U00AC"); /* Compose, COMMA, HYPHEN-MINUS: NOT SIGN */
            "\U0041" = ("insertText:", "\U0104"); /* Compose, COMMA, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH OGONEK */
            "\U0043" = ("insertText:", "\U00C7"); /* Compose, COMMA, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CEDILLA */
            "\U0044" = ("insertText:", "\U1E10"); /* Compose, COMMA, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH CEDILLA */
            "\U0045" = ("insertText:", "\U0118"); /* Compose, COMMA, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH OGONEK */
            "\U0047" = ("insertText:", "\U0122"); /* Compose, COMMA, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH CEDILLA */
            "\U0048" = ("insertText:", "\U1E28"); /* Compose, COMMA, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH CEDILLA */
            "\U0049" = ("insertText:", "\U012E"); /* Compose, COMMA, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH OGONEK */
            "\U004B" = ("insertText:", "\U0136"); /* Compose, COMMA, LATIN CAPITAL LETTER K: LATIN CAPITAL LETTER K WITH CEDILLA */
            "\U004C" = ("insertText:", "\U013B"); /* Compose, COMMA, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH CEDILLA */
            "\U004E" = ("insertText:", "\U0145"); /* Compose, COMMA, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH CEDILLA */
            "\U0052" = ("insertText:", "\U0156"); /* Compose, COMMA, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH CEDILLA */
            "\U0053" = ("insertText:", "\U015E"); /* Compose, COMMA, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH CEDILLA */
            "\U0054" = ("insertText:", "\U0162"); /* Compose, COMMA, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH CEDILLA */
            "\U0055" = ("insertText:", "\U0172"); /* Compose, COMMA, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH OGONEK */
            "\U0061" = ("insertText:", "\U0105"); /* Compose, COMMA, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH OGONEK */
            "\U0063" = ("insertText:", "\U00E7"); /* Compose, COMMA, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CEDILLA */
            "\U0064" = ("insertText:", "\U1E11"); /* Compose, COMMA, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH CEDILLA */
            "\U0065" = ("insertText:", "\U0119"); /* Compose, COMMA, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH OGONEK */
            "\U0067" = ("insertText:", "\U0123"); /* Compose, COMMA, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH CEDILLA */
            "\U0068" = ("insertText:", "\U1E29"); /* Compose, COMMA, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH CEDILLA */
            "\U0069" = ("insertText:", "\U012F"); /* Compose, COMMA, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH OGONEK */
            "\U006B" = ("insertText:", "\U0137"); /* Compose, COMMA, LATIN SMALL LETTER K: LATIN SMALL LETTER K WITH CEDILLA */
            "\U006C" = ("insertText:", "\U013C"); /* Compose, COMMA, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH CEDILLA */
            "\U006E" = ("insertText:", "\U0146"); /* Compose, COMMA, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH CEDILLA */
            "\U0072" = ("insertText:", "\U0157"); /* Compose, COMMA, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH CEDILLA */
            "\U0073" = ("insertText:", "\U015F"); /* Compose, COMMA, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH CEDILLA */
            "\U0074" = ("insertText:", "\U0163"); /* Compose, COMMA, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH CEDILLA */
            "\U0075" = ("insertText:", "\U0173"); /* Compose, COMMA, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH OGONEK */
        };
        "\U002D" = {
            "\U0020" = ("insertText:", "\U007E"); /* Compose, HYPHEN-MINUS, SPACE: TILDE */
            "\U0028" = ("insertText:", "\U007B"); /* Compose, HYPHEN-MINUS, LEFT PARENTHESIS: LEFT CURLY BRACKET */
            "\U0029" = ("insertText:", "\U007D"); /* Compose, HYPHEN-MINUS, RIGHT PARENTHESIS: RIGHT CURLY BRACKET */
            "\U002B" = ("insertText:", "\U00B1"); /* Compose, HYPHEN-MINUS, PLUS SIGN: PLUS-MINUS SIGN */
            "\U002C" = ("insertText:", "\U00AC"); /* Compose, HYPHEN-MINUS, COMMA: NOT SIGN */
            "\U002D" = {
                "\U0020" = ("insertText:", "\U00AD"); /* Compose, HYPHEN-MINUS, HYPHEN-MINUS, SPACE: SOFT HYPHEN */
                "\U002D" = ("insertText:", "\U2014"); /* Compose, HYPHEN-MINUS, HYPHEN-MINUS, HYPHEN-MINUS: EM DASH */
                "\U002E" = ("insertText:", "\U2013"); /* Compose, HYPHEN-MINUS, HYPHEN-MINUS, FULL STOP: EN DASH */
            };
            "\U003A" = ("insertText:", "\U00F7"); /* Compose, HYPHEN-MINUS, COLON: DIVISION SIGN */
            "\U003E" = ("insertText:", "\U2192"); /* Compose, HYPHEN-MINUS, GREATER-THAN SIGN: RIGHTWARDS ARROW */
            "\U0041" = ("insertText:", "\U00C3"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH TILDE */
            "\U0044" = ("insertText:", "\U0110"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH STROKE */
            "\U0045" = ("insertText:", "\U0112"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON */
            "\U0049" = ("insertText:", "\U012A"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH MACRON */
            "\U004C" = ("insertText:", "\U00A3"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER L: POUND SIGN */
            "\U004E" = ("insertText:", "\U00D1"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH TILDE */
            "\U004F" = ("insertText:", "\U00D5"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE */
            "\U0055" = ("insertText:", "\U016A"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH MACRON */
            "\U0059" = ("insertText:", "\U00A5"); /* Compose, HYPHEN-MINUS, LATIN CAPITAL LETTER Y: YEN SIGN */
            "\U005E" = ("insertText:", "\U00AF"); /* Compose, HYPHEN-MINUS, CIRCUMFLEX ACCENT: MACRON */
            "\U0061" = ("insertText:", "\U00E3"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH TILDE */
            "\U0064" = ("insertText:", "\U0111"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH STROKE */
            "\U0065" = ("insertText:", "\U0113"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON */
            "\U0069" = ("insertText:", "\U012B"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH MACRON */
            "\U006C" = ("insertText:", "\U00A3"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER L: POUND SIGN */
            "\U006E" = ("insertText:", "\U00F1"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH TILDE */
            "\U006F" = ("insertText:", "\U00F5"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE */
            "\U0075" = ("insertText:", "\U016B"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH MACRON */
            "\U0079" = ("insertText:", "\U00A5"); /* Compose, HYPHEN-MINUS, LATIN SMALL LETTER Y: YEN SIGN */
        };
        "\U002E" = {
            "\U0021" = {
                "\U0053" = ("insertText:", "\U1E68"); /* Compose, FULL STOP, EXCLAMATION MARK, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH DOT BELOW AND DOT ABOVE */
                "\U0073" = ("insertText:", "\U1E69"); /* Compose, FULL STOP, EXCLAMATION MARK, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH DOT BELOW AND DOT ABOVE */
            };
            "\U0027" = {
                "\U0053" = ("insertText:", "\U1E64"); /* Compose, FULL STOP, APOSTROPHE, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH ACUTE AND DOT ABOVE */
                "\U0073" = ("insertText:", "\U1E65"); /* Compose, FULL STOP, APOSTROPHE, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH ACUTE AND DOT ABOVE */
            };
            "\U002D" = ("insertText:", "\U00B7"); /* Compose, FULL STOP, HYPHEN-MINUS: MIDDLE DOT */
            "\U002E" = ("insertText:", "\U2026"); /* Compose, FULL STOP, FULL STOP: HORIZONTAL ELLIPSIS */
            "\U003C" = ("insertText:", "\U2039"); /* Compose, FULL STOP, LESS-THAN SIGN: SINGLE LEFT-POINTING ANGLE QUOTATION MARK */
            "\U003D" = ("insertText:", "\U2022"); /* Compose, FULL STOP, EQUALS SIGN: BULLET */
            "\U003E" = ("insertText:", "\U203A"); /* Compose, FULL STOP, GREATER-THAN SIGN: SINGLE RIGHT-POINTING ANGLE QUOTATION MARK */
            "\U0041" = ("insertText:", "\U0226"); /* Compose, FULL STOP, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DOT ABOVE */
            "\U0042" = ("insertText:", "\U1E02"); /* Compose, FULL STOP, LATIN CAPITAL LETTER B: LATIN CAPITAL LETTER B WITH DOT ABOVE */
            "\U0043" = ("insertText:", "\U010A"); /* Compose, FULL STOP, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH DOT ABOVE */
            "\U0044" = ("insertText:", "\U1E0A"); /* Compose, FULL STOP, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH DOT ABOVE */
            "\U0045" = ("insertText:", "\U0116"); /* Compose, FULL STOP, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH DOT ABOVE */
            "\U0046" = ("insertText:", "\U1E1E"); /* Compose, FULL STOP, LATIN CAPITAL LETTER F: LATIN CAPITAL LETTER F WITH DOT ABOVE */
            "\U0047" = ("insertText:", "\U0120"); /* Compose, FULL STOP, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH DOT ABOVE */
            "\U0048" = ("insertText:", "\U1E22"); /* Compose, FULL STOP, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH DOT ABOVE */
            "\U0049" = ("insertText:", "\U0130"); /* Compose, FULL STOP, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH DOT ABOVE */
            "\U004D" = ("insertText:", "\U1E40"); /* Compose, FULL STOP, LATIN CAPITAL LETTER M: LATIN CAPITAL LETTER M WITH DOT ABOVE */
            "\U004E" = ("insertText:", "\U1E44"); /* Compose, FULL STOP, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH DOT ABOVE */
            "\U004F" = ("insertText:", "\U022E"); /* Compose, FULL STOP, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DOT ABOVE */
            "\U0050" = ("insertText:", "\U1E56"); /* Compose, FULL STOP, LATIN CAPITAL LETTER P: LATIN CAPITAL LETTER P WITH DOT ABOVE */
            "\U0052" = ("insertText:", "\U1E58"); /* Compose, FULL STOP, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH DOT ABOVE */
            "\U0053" = ("insertText:", "\U1E60"); /* Compose, FULL STOP, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH DOT ABOVE */
            "\U0054" = ("insertText:", "\U1E6A"); /* Compose, FULL STOP, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH DOT ABOVE */
            "\U0057" = ("insertText:", "\U1E86"); /* Compose, FULL STOP, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH DOT ABOVE */
            "\U0058" = ("insertText:", "\U1E8A"); /* Compose, FULL STOP, LATIN CAPITAL LETTER X: LATIN CAPITAL LETTER X WITH DOT ABOVE */
            "\U0059" = ("insertText:", "\U1E8E"); /* Compose, FULL STOP, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH DOT ABOVE */
            "\U005A" = ("insertText:", "\U017B"); /* Compose, FULL STOP, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH DOT ABOVE */
            "\U005E" = ("insertText:", "\U00B7"); /* Compose, FULL STOP, CIRCUMFLEX ACCENT: MIDDLE DOT */
            "\U0061" = ("insertText:", "\U0227"); /* Compose, FULL STOP, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DOT ABOVE */
            "\U0062" = ("insertText:", "\U1E03"); /* Compose, FULL STOP, LATIN SMALL LETTER B: LATIN SMALL LETTER B WITH DOT ABOVE */
            "\U0063" = ("insertText:", "\U010B"); /* Compose, FULL STOP, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH DOT ABOVE */
            "\U0064" = ("insertText:", "\U1E0B"); /* Compose, FULL STOP, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH DOT ABOVE */
            "\U0065" = ("insertText:", "\U0117"); /* Compose, FULL STOP, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH DOT ABOVE */
            "\U0066" = ("insertText:", "\U1E1F"); /* Compose, FULL STOP, LATIN SMALL LETTER F: LATIN SMALL LETTER F WITH DOT ABOVE */
            "\U0067" = ("insertText:", "\U0121"); /* Compose, FULL STOP, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH DOT ABOVE */
            "\U0068" = ("insertText:", "\U1E23"); /* Compose, FULL STOP, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH DOT ABOVE */
            "\U0069" = ("insertText:", "\U0131"); /* Compose, FULL STOP, LATIN SMALL LETTER I: LATIN SMALL LETTER DOTLESS I */
            "\U006D" = ("insertText:", "\U1E41"); /* Compose, FULL STOP, LATIN SMALL LETTER M: LATIN SMALL LETTER M WITH DOT ABOVE */
            "\U006E" = ("insertText:", "\U1E45"); /* Compose, FULL STOP, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH DOT ABOVE */
            "\U006F" = ("insertText:", "\U022F"); /* Compose, FULL STOP, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DOT ABOVE */
            "\U0070" = ("insertText:", "\U1E57"); /* Compose, FULL STOP, LATIN SMALL LETTER P: LATIN SMALL LETTER P WITH DOT ABOVE */
            "\U0072" = ("insertText:", "\U1E59"); /* Compose, FULL STOP, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH DOT ABOVE */
            "\U0073" = ("insertText:", "\U1E61"); /* Compose, FULL STOP, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH DOT ABOVE */
            "\U0074" = ("insertText:", "\U1E6B"); /* Compose, FULL STOP, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH DOT ABOVE */
            "\U0077" = ("insertText:", "\U1E87"); /* Compose, FULL STOP, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH DOT ABOVE */
            "\U0078" = ("insertText:", "\U1E8B"); /* Compose, FULL STOP, LATIN SMALL LETTER X: LATIN SMALL LETTER X WITH DOT ABOVE */
            "\U0079" = ("insertText:", "\U1E8F"); /* Compose, FULL STOP, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH DOT ABOVE */
            "\U007A" = ("insertText:", "\U017C"); /* Compose, FULL STOP, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH DOT ABOVE */
            "\U00B4" = {
                "\U0053" = ("insertText:", "\U1E64"); /* Compose, FULL STOP, ACUTE ACCENT, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH ACUTE AND DOT ABOVE */
                "\U0073" = ("insertText:", "\U1E65"); /* Compose, FULL STOP, ACUTE ACCENT, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH ACUTE AND DOT ABOVE */
            };
            "\U017F" = ("insertText:", "\U1E9B"); /* Compose, FULL STOP, LATIN SMALL LETTER LONG S: LATIN SMALL LETTER LONG S WITH DOT ABOVE */
            "\U01A6" = ("insertText:", "\U1E64"); /* Compose, FULL STOP, LATIN LETTER YR: LATIN CAPITAL LETTER S WITH ACUTE AND DOT ABOVE */
            "\U01A9" = ("insertText:", "\U1E66"); /* Compose, FULL STOP, LATIN CAPITAL LETTER ESH: LATIN CAPITAL LETTER S WITH CARON AND DOT ABOVE */
            "\U01B6" = ("insertText:", "\U1E65"); /* Compose, FULL STOP, LATIN SMALL LETTER Z WITH STROKE: LATIN SMALL LETTER S WITH ACUTE AND DOT ABOVE */
            "\U01B9" = ("insertText:", "\U1E67"); /* Compose, FULL STOP, LATIN SMALL LETTER EZH REVERSED: LATIN SMALL LETTER S WITH CARON AND DOT ABOVE */
            "\U1E62" = ("insertText:", "\U1E68"); /* Compose, FULL STOP, LATIN CAPITAL LETTER S WITH DOT BELOW: LATIN CAPITAL LETTER S WITH DOT BELOW AND DOT ABOVE */
            "\U1E63" = ("insertText:", "\U1E69"); /* Compose, FULL STOP, LATIN SMALL LETTER S WITH DOT BELOW: LATIN SMALL LETTER S WITH DOT BELOW AND DOT ABOVE */
        };
        "\U002F" = {
            "\U002F" = ("insertText:", "\U005C"); /* Compose, SOLIDUS, SOLIDUS: REVERSE SOLIDUS */
            "\U003C" = ("insertText:", "\U005C"); /* Compose, SOLIDUS, LESS-THAN SIGN: REVERSE SOLIDUS */
            "\U003D" = ("insertText:", "\U2260"); /* Compose, SOLIDUS, EQUALS SIGN: NOT EQUAL TO */
            "\U0043" = ("insertText:", "\U20A1"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER C: COLON SIGN */
            "\U0044" = ("insertText:", "\U0110"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH STROKE */
            "\U0047" = ("insertText:", "\U01E4"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH STROKE */
            "\U0048" = ("insertText:", "\U0126"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH STROKE */
            "\U0049" = ("insertText:", "\U0197"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH STROKE */
            "\U004C" = ("insertText:", "\U0141"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH STROKE */
            "\U004F" = ("insertText:", "\U00D8"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH STROKE */
            "\U0054" = ("insertText:", "\U0166"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH STROKE */
            "\U0055" = ("insertText:", "\U00B5"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER U: MICRO SIGN */
            "\U005A" = ("insertText:", "\U01B5"); /* Compose, SOLIDUS, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH STROKE */
            "\U005E" = ("insertText:", "\U007C"); /* Compose, SOLIDUS, CIRCUMFLEX ACCENT: VERTICAL LINE */
            "\U0062" = ("insertText:", "\U0180"); /* Compose, SOLIDUS, LATIN SMALL LETTER B: LATIN SMALL LETTER B WITH STROKE */
            "\U0063" = ("insertText:", "\U00A2"); /* Compose, SOLIDUS, LATIN SMALL LETTER C: CENT SIGN */
            "\U0064" = ("insertText:", "\U0111"); /* Compose, SOLIDUS, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH STROKE */
            "\U0067" = ("insertText:", "\U01E5"); /* Compose, SOLIDUS, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH STROKE */
            "\U0068" = ("insertText:", "\U0127"); /* Compose, SOLIDUS, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH STROKE */
            "\U0069" = ("insertText:", "\U0268"); /* Compose, SOLIDUS, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH STROKE */
            "\U006C" = ("insertText:", "\U0142"); /* Compose, SOLIDUS, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH STROKE */
            "\U006D" = ("insertText:", "\U20A5"); /* Compose, SOLIDUS, LATIN SMALL LETTER M: MILL SIGN */
            "\U006F" = ("insertText:", "\U00F8"); /* Compose, SOLIDUS, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH STROKE */
            "\U0074" = ("insertText:", "\U0167"); /* Compose, SOLIDUS, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH STROKE */
            "\U0075" = ("insertText:", "\U00B5"); /* Compose, SOLIDUS, LATIN SMALL LETTER U: MICRO SIGN */
            "\U007A" = ("insertText:", "\U01B6"); /* Compose, SOLIDUS, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH STROKE */
            "\U0294" = ("insertText:", "\U02A1"); /* Compose, SOLIDUS, LATIN LETTER GLOTTAL STOP: LATIN LETTER GLOTTAL STOP WITH STROKE */
            "\U04AE" = ("insertText:", "\U04B0"); /* Compose, SOLIDUS, CYRILLIC CAPITAL LETTER STRAIGHT U: CYRILLIC CAPITAL LETTER STRAIGHT U WITH STROKE */
            "\U04AF" = ("insertText:", "\U04B1"); /* Compose, SOLIDUS, CYRILLIC SMALL LETTER STRAIGHT U: CYRILLIC SMALL LETTER STRAIGHT U WITH STROKE */
            "\U06C7" = ("insertText:", "\U0493"); /* Compose, SOLIDUS, ARABIC LETTER U: CYRILLIC SMALL LETTER GHE WITH STROKE */
            "\U06CB" = ("insertText:", "\U049F"); /* Compose, SOLIDUS, ARABIC LETTER VE: CYRILLIC SMALL LETTER KA WITH STROKE */
            "\U06E7" = ("insertText:", "\U0492"); /* Compose, SOLIDUS, ARABIC SMALL HIGH YEH: CYRILLIC CAPITAL LETTER GHE WITH STROKE */
            "\U06EB" = ("insertText:", "\U049E"); /* Compose, SOLIDUS, ARABIC EMPTY CENTRE HIGH STOP: CYRILLIC CAPITAL LETTER KA WITH STROKE */
            "\U08FB" = ("insertText:", "\U219A"); /* Compose, SOLIDUS, unknown: LEFTWARDS ARROW WITH STROKE */
            "\U08FD" = ("insertText:", "\U219B"); /* Compose, SOLIDUS, unknown: RIGHTWARDS ARROW WITH STROKE */
            "\U2194" = ("insertText:", "\U21AE"); /* Compose, SOLIDUS, LEFT RIGHT ARROW: LEFT RIGHT ARROW WITH STROKE */
        };
        "\U0030" = {
            "\U002A" = ("insertText:", "\U00B0"); /* Compose, DIGIT ZERO, ASTERISK: DEGREE SIGN */
            "\U0033" = ("insertText:", "\U2189"); /* Compose, DIGIT ZERO, DIGIT THREE: VULGAR FRACTION ZERO THIRDS */
        };
        "\U0031" = {
            "\U0031" = {
                "\U0030" = ("insertText:", "\U2152"); /* Compose, DIGIT ONE, DIGIT ONE, DIGIT ZERO: VULGAR FRACTION ONE TENTH */
            };
            "\U0032" = ("insertText:", "\U00BD"); /* Compose, DIGIT ONE, DIGIT TWO: VULGAR FRACTION ONE HALF */
            "\U0033" = ("insertText:", "\U2153"); /* Compose, DIGIT ONE, DIGIT THREE: VULGAR FRACTION ONE THIRD */
            "\U0034" = ("insertText:", "\U00BC"); /* Compose, DIGIT ONE, DIGIT FOUR: VULGAR FRACTION ONE QUARTER */
            "\U0035" = ("insertText:", "\U2155"); /* Compose, DIGIT ONE, DIGIT FIVE: VULGAR FRACTION ONE FIFTH */
            "\U0036" = ("insertText:", "\U2159"); /* Compose, DIGIT ONE, DIGIT SIX: VULGAR FRACTION ONE SIXTH */
            "\U0037" = ("insertText:", "\U2150"); /* Compose, DIGIT ONE, DIGIT SEVEN: VULGAR FRACTION ONE SEVENTH */
            "\U0038" = ("insertText:", "\U215B"); /* Compose, DIGIT ONE, DIGIT EIGHT: VULGAR FRACTION ONE EIGHTH */
            "\U0039" = ("insertText:", "\U2151"); /* Compose, DIGIT ONE, DIGIT NINE: VULGAR FRACTION ONE NINTH */
            "\U0053" = ("insertText:", "\U00B9"); /* Compose, DIGIT ONE, LATIN CAPITAL LETTER S: SUPERSCRIPT ONE */
            "\U005E" = ("insertText:", "\U00B9"); /* Compose, DIGIT ONE, CIRCUMFLEX ACCENT: SUPERSCRIPT ONE */
            "\U0073" = ("insertText:", "\U00B9"); /* Compose, DIGIT ONE, LATIN SMALL LETTER S: SUPERSCRIPT ONE */
        };
        "\U0032" = {
            "\U0033" = ("insertText:", "\U2154"); /* Compose, DIGIT TWO, DIGIT THREE: VULGAR FRACTION TWO THIRDS */
            "\U0035" = ("insertText:", "\U2156"); /* Compose, DIGIT TWO, DIGIT FIVE: VULGAR FRACTION TWO FIFTHS */
            "\U0053" = ("insertText:", "\U00B2"); /* Compose, DIGIT TWO, LATIN CAPITAL LETTER S: SUPERSCRIPT TWO */
            "\U005E" = ("insertText:", "\U00B2"); /* Compose, DIGIT TWO, CIRCUMFLEX ACCENT: SUPERSCRIPT TWO */
            "\U0073" = ("insertText:", "\U00B2"); /* Compose, DIGIT TWO, LATIN SMALL LETTER S: SUPERSCRIPT TWO */
        };
        "\U0033" = {
            "\U0034" = ("insertText:", "\U00BE"); /* Compose, DIGIT THREE, DIGIT FOUR: VULGAR FRACTION THREE QUARTERS */
            "\U0035" = ("insertText:", "\U2157"); /* Compose, DIGIT THREE, DIGIT FIVE: VULGAR FRACTION THREE FIFTHS */
            "\U0038" = ("insertText:", "\U215C"); /* Compose, DIGIT THREE, DIGIT EIGHT: VULGAR FRACTION THREE EIGHTHS */
            "\U0053" = ("insertText:", "\U00B3"); /* Compose, DIGIT THREE, LATIN CAPITAL LETTER S: SUPERSCRIPT THREE */
            "\U005E" = ("insertText:", "\U00B3"); /* Compose, DIGIT THREE, CIRCUMFLEX ACCENT: SUPERSCRIPT THREE */
            "\U0073" = ("insertText:", "\U00B3"); /* Compose, DIGIT THREE, LATIN SMALL LETTER S: SUPERSCRIPT THREE */
        };
        "\U0034" = {
            "\U0035" = ("insertText:", "\U2158"); /* Compose, DIGIT FOUR, DIGIT FIVE: VULGAR FRACTION FOUR FIFTHS */
        };
        "\U0035" = {
            "\U0036" = ("insertText:", "\U215A"); /* Compose, DIGIT FIVE, DIGIT SIX: VULGAR FRACTION FIVE SIXTHS */
            "\U0038" = ("insertText:", "\U215D"); /* Compose, DIGIT FIVE, DIGIT EIGHT: VULGAR FRACTION FIVE EIGHTHS */
        };
        "\U0037" = {
            "\U0038" = ("insertText:", "\U215E"); /* Compose, DIGIT SEVEN, DIGIT EIGHT: VULGAR FRACTION SEVEN EIGHTHS */
        };
        "\U003A" = {
            "\U0028" = ("insertText:", "\U2639"); /* Compose, COLON, LEFT PARENTHESIS: WHITE FROWNING FACE */
            "\U0029" = ("insertText:", "\U263A"); /* Compose, COLON, RIGHT PARENTHESIS: WHITE SMILING FACE */
            "\U002D" = ("insertText:", "\U00F7"); /* Compose, COLON, HYPHEN-MINUS: DIVISION SIGN */
        };
        "\U003B" = {
            "\U0041" = ("insertText:", "\U0104"); /* Compose, SEMICOLON, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH OGONEK */
            "\U0045" = ("insertText:", "\U0118"); /* Compose, SEMICOLON, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH OGONEK */
            "\U0049" = ("insertText:", "\U012E"); /* Compose, SEMICOLON, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH OGONEK */
            "\U004F" = ("insertText:", "\U01EA"); /* Compose, SEMICOLON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH OGONEK */
            "\U0055" = ("insertText:", "\U0172"); /* Compose, SEMICOLON, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH OGONEK */
            "\U0061" = ("insertText:", "\U0105"); /* Compose, SEMICOLON, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH OGONEK */
            "\U0065" = ("insertText:", "\U0119"); /* Compose, SEMICOLON, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH OGONEK */
            "\U0069" = ("insertText:", "\U012F"); /* Compose, SEMICOLON, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH OGONEK */
            "\U006F" = ("insertText:", "\U01EB"); /* Compose, SEMICOLON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH OGONEK */
            "\U0075" = ("insertText:", "\U0173"); /* Compose, SEMICOLON, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH OGONEK */
        };
        "\U003C" = {
            "\U0020" = ("insertText:", "\U02C7"); /* Compose, LESS-THAN SIGN, SPACE: CARON */
            "\U0022" = ("insertText:", "\U201C"); /* Compose, LESS-THAN SIGN, QUOTATION MARK: LEFT DOUBLE QUOTATION MARK */
            "\U0027" = ("insertText:", "\U2018"); /* Compose, LESS-THAN SIGN, APOSTROPHE: LEFT SINGLE QUOTATION MARK */
            "\U002D" = ("insertText:", "\U2190"); /* Compose, LESS-THAN SIGN, HYPHEN-MINUS: LEFTWARDS ARROW */
            "\U002F" = ("insertText:", "\U005C"); /* Compose, LESS-THAN SIGN, SOLIDUS: REVERSE SOLIDUS */
            "\U0033" = ("insertText:", "\U2665"); /* Compose, LESS-THAN SIGN, DIGIT THREE: BLACK HEART SUIT */
            "\U003C" = ("insertText:", "\U00AB"); /* Compose, LESS-THAN SIGN, LESS-THAN SIGN: LEFT-POINTING DOUBLE ANGLE QUOTATION MARK */
            "\U003D" = ("insertText:", "\U2264"); /* Compose, LESS-THAN SIGN, EQUALS SIGN: LESS-THAN OR EQUAL TO */
            "\U0043" = ("insertText:", "\U010C"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CARON */
            "\U0044" = ("insertText:", "\U010E"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH CARON */
            "\U0045" = ("insertText:", "\U011A"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CARON */
            "\U004C" = ("insertText:", "\U013D"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH CARON */
            "\U004E" = ("insertText:", "\U0147"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH CARON */
            "\U0052" = ("insertText:", "\U0158"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH CARON */
            "\U0053" = ("insertText:", "\U0160"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH CARON */
            "\U0054" = ("insertText:", "\U0164"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH CARON */
            "\U005A" = ("insertText:", "\U017D"); /* Compose, LESS-THAN SIGN, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH CARON */
            "\U0063" = ("insertText:", "\U010D"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CARON */
            "\U0064" = ("insertText:", "\U010F"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH CARON */
            "\U0065" = ("insertText:", "\U011B"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CARON */
            "\U006C" = ("insertText:", "\U013E"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH CARON */
            "\U006E" = ("insertText:", "\U0148"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH CARON */
            "\U0072" = ("insertText:", "\U0159"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH CARON */
            "\U0073" = ("insertText:", "\U0161"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH CARON */
            "\U0074" = ("insertText:", "\U0165"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH CARON */
            "\U007A" = ("insertText:", "\U017E"); /* Compose, LESS-THAN SIGN, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH CARON */
            "\U0338" = ("insertText:", "\U226E"); /* Compose, LESS-THAN SIGN, COMBINING LONG SOLIDUS OVERLAY: NOT LESS-THAN */
        };
        "\U003D" = {
            "\U002F" = ("insertText:", "\U2260"); /* Compose, EQUALS SIGN, SOLIDUS: NOT EQUAL TO */
            "\U0043" = ("insertText:", "\U20AC"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER C: EURO SIGN */
            "\U0045" = ("insertText:", "\U20AC"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER E: EURO SIGN */
            "\U004C" = ("insertText:", "\U20A4"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER L: LIRA SIGN */
            "\U004E" = ("insertText:", "\U20A6"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER N: NAIRA SIGN */
            "\U004F" = ("insertText:", "\U0150"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DOUBLE ACUTE */
            "\U0055" = ("insertText:", "\U0170"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DOUBLE ACUTE */
            "\U0057" = ("insertText:", "\U20A9"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER W: WON SIGN */
            "\U0059" = ("insertText:", "\U00A5"); /* Compose, EQUALS SIGN, LATIN CAPITAL LETTER Y: YEN SIGN */
            "\U0063" = ("insertText:", "\U20AC"); /* Compose, EQUALS SIGN, LATIN SMALL LETTER C: EURO SIGN */
            "\U0064" = ("insertText:", "\U20AB"); /* Compose, EQUALS SIGN, LATIN SMALL LETTER D: DONG SIGN */
            "\U0065" = ("insertText:", "\U20AC"); /* Compose, EQUALS SIGN, LATIN SMALL LETTER E: EURO SIGN */
            "\U006F" = ("insertText:", "\U0151"); /* Compose, EQUALS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DOUBLE ACUTE */
            "\U0075" = ("insertText:", "\U0171"); /* Compose, EQUALS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DOUBLE ACUTE */
            "\U0079" = ("insertText:", "\U00A5"); /* Compose, EQUALS SIGN, LATIN SMALL LETTER Y: YEN SIGN */
            "\U0338" = ("insertText:", "\U2260"); /* Compose, EQUALS SIGN, COMBINING LONG SOLIDUS OVERLAY: NOT EQUAL TO */
            "\U06D5" = ("insertText:", "\U04F3"); /* Compose, EQUALS SIGN, ARABIC LETTER AE: CYRILLIC SMALL LETTER U WITH DOUBLE ACUTE */
            "\U06E5" = ("insertText:", "\U20AC"); /* Compose, EQUALS SIGN, ARABIC SMALL WAW: EURO SIGN */
            "\U06F3" = ("insertText:", "\U20AC"); /* Compose, EQUALS SIGN, EXTENDED ARABIC-INDIC DIGIT THREE: EURO SIGN */
            "\U06F5" = ("insertText:", "\U04F2"); /* Compose, EQUALS SIGN, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U WITH DOUBLE ACUTE */
        };
        "\U003E" = {
            "\U0020" = ("insertText:", "\U005E"); /* Compose, GREATER-THAN SIGN, SPACE: CIRCUMFLEX ACCENT */
            "\U0022" = ("insertText:", "\U201D"); /* Compose, GREATER-THAN SIGN, QUOTATION MARK: RIGHT DOUBLE QUOTATION MARK */
            "\U0027" = ("insertText:", "\U2019"); /* Compose, GREATER-THAN SIGN, APOSTROPHE: RIGHT SINGLE QUOTATION MARK */
            "\U003D" = ("insertText:", "\U2265"); /* Compose, GREATER-THAN SIGN, EQUALS SIGN: GREATER-THAN OR EQUAL TO */
            "\U003E" = ("insertText:", "\U00BB"); /* Compose, GREATER-THAN SIGN, GREATER-THAN SIGN: RIGHT-POINTING DOUBLE ANGLE QUOTATION MARK */
            "\U0041" = ("insertText:", "\U00C2"); /* Compose, GREATER-THAN SIGN, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX */
            "\U0045" = ("insertText:", "\U00CA"); /* Compose, GREATER-THAN SIGN, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX */
            "\U0049" = ("insertText:", "\U00CE"); /* Compose, GREATER-THAN SIGN, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH CIRCUMFLEX */
            "\U004F" = ("insertText:", "\U00D4"); /* Compose, GREATER-THAN SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX */
            "\U0055" = ("insertText:", "\U00DB"); /* Compose, GREATER-THAN SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH CIRCUMFLEX */
            "\U0061" = ("insertText:", "\U00E2"); /* Compose, GREATER-THAN SIGN, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX */
            "\U0065" = ("insertText:", "\U00EA"); /* Compose, GREATER-THAN SIGN, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX */
            "\U0069" = ("insertText:", "\U00EE"); /* Compose, GREATER-THAN SIGN, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH CIRCUMFLEX */
            "\U006F" = ("insertText:", "\U00F4"); /* Compose, GREATER-THAN SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX */
            "\U0075" = ("insertText:", "\U00FB"); /* Compose, GREATER-THAN SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH CIRCUMFLEX */
            "\U0338" = ("insertText:", "\U226F"); /* Compose, GREATER-THAN SIGN, COMBINING LONG SOLIDUS OVERLAY: NOT GREATER-THAN */
        };
        "\U003F" = {
            "\U0021" = ("insertText:", "\U2E18"); /* Compose, QUESTION MARK, EXCLAMATION MARK: INVERTED INTERROBANG */
            "\U002B" = {
                "\U004F" = ("insertText:", "\U1EDE"); /* Compose, QUESTION MARK, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN AND HOOK ABOVE */
                "\U0055" = ("insertText:", "\U1EEC"); /* Compose, QUESTION MARK, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN AND HOOK ABOVE */
                "\U006F" = ("insertText:", "\U1EDF"); /* Compose, QUESTION MARK, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN AND HOOK ABOVE */
                "\U0075" = ("insertText:", "\U1EED"); /* Compose, QUESTION MARK, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN AND HOOK ABOVE */
            };
            "\U003F" = ("insertText:", "\U00BF"); /* Compose, QUESTION MARK, QUESTION MARK: INVERTED QUESTION MARK */
            "\U0041" = ("insertText:", "\U1EA2"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH HOOK ABOVE */
            "\U0045" = ("insertText:", "\U1EBA"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH HOOK ABOVE */
            "\U0049" = ("insertText:", "\U1EC8"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH HOOK ABOVE */
            "\U004F" = ("insertText:", "\U1ECE"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HOOK ABOVE */
            "\U0055" = ("insertText:", "\U1EE6"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HOOK ABOVE */
            "\U0059" = ("insertText:", "\U1EF6"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH HOOK ABOVE */
            "\U005E" = {
                "\U0041" = ("insertText:", "\U1EA8"); /* Compose, QUESTION MARK, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND HOOK ABOVE */
                "\U0045" = ("insertText:", "\U1EC2"); /* Compose, QUESTION MARK, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND HOOK ABOVE */
                "\U004F" = ("insertText:", "\U1ED4"); /* Compose, QUESTION MARK, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND HOOK ABOVE */
                "\U0061" = ("insertText:", "\U1EA9"); /* Compose, QUESTION MARK, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX AND HOOK ABOVE */
                "\U0065" = ("insertText:", "\U1EC3"); /* Compose, QUESTION MARK, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX AND HOOK ABOVE */
                "\U006F" = ("insertText:", "\U1ED5"); /* Compose, QUESTION MARK, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX AND HOOK ABOVE */
            };
            "\U0061" = ("insertText:", "\U1EA3"); /* Compose, QUESTION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH HOOK ABOVE */
            "\U0062" = {
                "\U0041" = ("insertText:", "\U1EB2"); /* Compose, QUESTION MARK, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND HOOK ABOVE */
                "\U0061" = ("insertText:", "\U1EB3"); /* Compose, QUESTION MARK, LATIN SMALL LETTER B, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND HOOK ABOVE */
            };
            "\U0065" = ("insertText:", "\U1EBB"); /* Compose, QUESTION MARK, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH HOOK ABOVE */
            "\U0069" = ("insertText:", "\U1EC9"); /* Compose, QUESTION MARK, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH HOOK ABOVE */
            "\U006F" = ("insertText:", "\U1ECF"); /* Compose, QUESTION MARK, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HOOK ABOVE */
            "\U0075" = ("insertText:", "\U1EE7"); /* Compose, QUESTION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HOOK ABOVE */
            "\U0079" = ("insertText:", "\U1EF7"); /* Compose, QUESTION MARK, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH HOOK ABOVE */
            "\U00C2" = ("insertText:", "\U1EA8"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER A WITH CIRCUMFLEX: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND HOOK ABOVE */
            "\U00CA" = ("insertText:", "\U1EC2"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER E WITH CIRCUMFLEX: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND HOOK ABOVE */
            "\U00D4" = ("insertText:", "\U1ED4"); /* Compose, QUESTION MARK, LATIN CAPITAL LETTER O WITH CIRCUMFLEX: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND HOOK ABOVE */
            "\U00E2" = ("insertText:", "\U1EA9"); /* Compose, QUESTION MARK, LATIN SMALL LETTER A WITH CIRCUMFLEX: LATIN SMALL LETTER A WITH CIRCUMFLEX AND HOOK ABOVE */
            "\U00EA" = ("insertText:", "\U1EC3"); /* Compose, QUESTION MARK, LATIN SMALL LETTER E WITH CIRCUMFLEX: LATIN SMALL LETTER E WITH CIRCUMFLEX AND HOOK ABOVE */
            "\U00F4" = ("insertText:", "\U1ED5"); /* Compose, QUESTION MARK, LATIN SMALL LETTER O WITH CIRCUMFLEX: LATIN SMALL LETTER O WITH CIRCUMFLEX AND HOOK ABOVE */
            "\U01C3" = ("insertText:", "\U1EB2"); /* Compose, QUESTION MARK, LATIN LETTER RETROFLEX CLICK: LATIN CAPITAL LETTER A WITH BREVE AND HOOK ABOVE */
            "\U01E3" = ("insertText:", "\U1EB3"); /* Compose, QUESTION MARK, LATIN SMALL LETTER AE WITH MACRON: LATIN SMALL LETTER A WITH BREVE AND HOOK ABOVE */
        };
        "\U0041" = {
            "\U0022" = ("insertText:", "\U00C4"); /* Compose, LATIN CAPITAL LETTER A, QUOTATION MARK: LATIN CAPITAL LETTER A WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00C1"); /* Compose, LATIN CAPITAL LETTER A, APOSTROPHE: LATIN CAPITAL LETTER A WITH ACUTE */
            "\U0028" = ("insertText:", "\U0102"); /* Compose, LATIN CAPITAL LETTER A, LEFT PARENTHESIS: LATIN CAPITAL LETTER A WITH BREVE */
            "\U002A" = ("insertText:", "\U00C5"); /* Compose, LATIN CAPITAL LETTER A, ASTERISK: LATIN CAPITAL LETTER A WITH RING ABOVE */
            "\U002C" = ("insertText:", "\U0104"); /* Compose, LATIN CAPITAL LETTER A, COMMA: LATIN CAPITAL LETTER A WITH OGONEK */
            "\U002D" = ("insertText:", "\U00C3"); /* Compose, LATIN CAPITAL LETTER A, HYPHEN-MINUS: LATIN CAPITAL LETTER A WITH TILDE */
            "\U003E" = ("insertText:", "\U00C2"); /* Compose, LATIN CAPITAL LETTER A, GREATER-THAN SIGN: LATIN CAPITAL LETTER A WITH CIRCUMFLEX */
            "\U0041" = ("insertText:", "\U00C5"); /* Compose, LATIN CAPITAL LETTER A, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH RING ABOVE */
            "\U0045" = ("insertText:", "\U00C6"); /* Compose, LATIN CAPITAL LETTER A, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER AE */
            "\U0054" = ("insertText:", "\U0040"); /* Compose, LATIN CAPITAL LETTER A, LATIN CAPITAL LETTER T: COMMERCIAL AT */
            "\U005E" = ("insertText:", "\U00C2"); /* Compose, LATIN CAPITAL LETTER A, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER A WITH CIRCUMFLEX */
            "\U0060" = ("insertText:", "\U00C0"); /* Compose, LATIN CAPITAL LETTER A, GRAVE ACCENT: LATIN CAPITAL LETTER A WITH GRAVE */
            "\U007E" = ("insertText:", "\U00C3"); /* Compose, LATIN CAPITAL LETTER A, TILDE: LATIN CAPITAL LETTER A WITH TILDE */
            "\U00A8" = ("insertText:", "\U00C4"); /* Compose, LATIN CAPITAL LETTER A, DIAERESIS: LATIN CAPITAL LETTER A WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00C1"); /* Compose, LATIN CAPITAL LETTER A, ACUTE ACCENT: LATIN CAPITAL LETTER A WITH ACUTE */
        };
        "\U0042" = {
            "\U002E" = ("insertText:", "\U1E02"); /* Compose, LATIN CAPITAL LETTER B, FULL STOP: LATIN CAPITAL LETTER B WITH DOT ABOVE */
        };
        "\U0043" = {
            "\U0027" = ("insertText:", "\U0106"); /* Compose, LATIN CAPITAL LETTER C, APOSTROPHE: LATIN CAPITAL LETTER C WITH ACUTE */
            "\U002C" = ("insertText:", "\U00C7"); /* Compose, LATIN CAPITAL LETTER C, COMMA: LATIN CAPITAL LETTER C WITH CEDILLA */
            "\U002E" = ("insertText:", "\U010A"); /* Compose, LATIN CAPITAL LETTER C, FULL STOP: LATIN CAPITAL LETTER C WITH DOT ABOVE */
            "\U002F" = ("insertText:", "\U20A1"); /* Compose, LATIN CAPITAL LETTER C, SOLIDUS: COLON SIGN */
            "\U003C" = ("insertText:", "\U010C"); /* Compose, LATIN CAPITAL LETTER C, LESS-THAN SIGN: LATIN CAPITAL LETTER C WITH CARON */
            "\U003D" = ("insertText:", "\U20AC"); /* Compose, LATIN CAPITAL LETTER C, EQUALS SIGN: EURO SIGN */
            "\U0043" = {
                "\U0043" = {
                    "\U0050" = ("insertText:", "\U262D"); /* Compose, LATIN CAPITAL LETTER C, LATIN CAPITAL LETTER C, LATIN CAPITAL LETTER C, LATIN CAPITAL LETTER P: HAMMER AND SICKLE */
                };
            };
            "\U0045" = ("insertText:", "\U20A0"); /* Compose, LATIN CAPITAL LETTER C, LATIN CAPITAL LETTER E: EURO-CURRENCY SIGN */
            "\U004F" = ("insertText:", "\U00A9"); /* Compose, LATIN CAPITAL LETTER C, LATIN CAPITAL LETTER O: COPYRIGHT SIGN */
            "\U006F" = ("insertText:", "\U00A9"); /* Compose, LATIN CAPITAL LETTER C, LATIN SMALL LETTER O: COPYRIGHT SIGN */
            "\U0072" = ("insertText:", "\U20A2"); /* Compose, LATIN CAPITAL LETTER C, LATIN SMALL LETTER R: CRUZEIRO SIGN */
            "\U007C" = ("insertText:", "\U00A2"); /* Compose, LATIN CAPITAL LETTER C, VERTICAL LINE: CENT SIGN */
        };
        "\U0044" = {
            "\U002C" = ("insertText:", "\U1E10"); /* Compose, LATIN CAPITAL LETTER D, COMMA: LATIN CAPITAL LETTER D WITH CEDILLA */
            "\U002D" = ("insertText:", "\U0110"); /* Compose, LATIN CAPITAL LETTER D, HYPHEN-MINUS: LATIN CAPITAL LETTER D WITH STROKE */
            "\U002E" = ("insertText:", "\U1E0A"); /* Compose, LATIN CAPITAL LETTER D, FULL STOP: LATIN CAPITAL LETTER D WITH DOT ABOVE */
            "\U003C" = ("insertText:", "\U010E"); /* Compose, LATIN CAPITAL LETTER D, LESS-THAN SIGN: LATIN CAPITAL LETTER D WITH CARON */
            "\U0048" = ("insertText:", "\U00D0"); /* Compose, LATIN CAPITAL LETTER D, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER ETH */
        };
        "\U0045" = {
            "\U0022" = ("insertText:", "\U00CB"); /* Compose, LATIN CAPITAL LETTER E, QUOTATION MARK: LATIN CAPITAL LETTER E WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00C9"); /* Compose, LATIN CAPITAL LETTER E, APOSTROPHE: LATIN CAPITAL LETTER E WITH ACUTE */
            "\U002C" = ("insertText:", "\U0118"); /* Compose, LATIN CAPITAL LETTER E, COMMA: LATIN CAPITAL LETTER E WITH OGONEK */
            "\U002D" = ("insertText:", "\U0112"); /* Compose, LATIN CAPITAL LETTER E, HYPHEN-MINUS: LATIN CAPITAL LETTER E WITH MACRON */
            "\U002E" = ("insertText:", "\U0116"); /* Compose, LATIN CAPITAL LETTER E, FULL STOP: LATIN CAPITAL LETTER E WITH DOT ABOVE */
            "\U003C" = ("insertText:", "\U011A"); /* Compose, LATIN CAPITAL LETTER E, LESS-THAN SIGN: LATIN CAPITAL LETTER E WITH CARON */
            "\U003D" = ("insertText:", "\U20AC"); /* Compose, LATIN CAPITAL LETTER E, EQUALS SIGN: EURO SIGN */
            "\U003E" = ("insertText:", "\U00CA"); /* Compose, LATIN CAPITAL LETTER E, GREATER-THAN SIGN: LATIN CAPITAL LETTER E WITH CIRCUMFLEX */
            "\U005E" = ("insertText:", "\U00CA"); /* Compose, LATIN CAPITAL LETTER E, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER E WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U0112"); /* Compose, LATIN CAPITAL LETTER E, LOW LINE: LATIN CAPITAL LETTER E WITH MACRON */
            "\U0060" = ("insertText:", "\U00C8"); /* Compose, LATIN CAPITAL LETTER E, GRAVE ACCENT: LATIN CAPITAL LETTER E WITH GRAVE */
            "\U00A8" = ("insertText:", "\U00CB"); /* Compose, LATIN CAPITAL LETTER E, DIAERESIS: LATIN CAPITAL LETTER E WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00C9"); /* Compose, LATIN CAPITAL LETTER E, ACUTE ACCENT: LATIN CAPITAL LETTER E WITH ACUTE */
        };
        "\U0046" = {
            "\U002E" = ("insertText:", "\U1E1E"); /* Compose, LATIN CAPITAL LETTER F, FULL STOP: LATIN CAPITAL LETTER F WITH DOT ABOVE */
            "\U0069" = ("insertText:", "\UFB03"); /* Compose, LATIN CAPITAL LETTER F, LATIN SMALL LETTER I: LATIN SMALL LIGATURE FFI */
            "\U006C" = ("insertText:", "\UFB04"); /* Compose, LATIN CAPITAL LETTER F, LATIN SMALL LETTER L: LATIN SMALL LIGATURE FFL */
            "\U0072" = ("insertText:", "\U20A3"); /* Compose, LATIN CAPITAL LETTER F, LATIN SMALL LETTER R: FRENCH FRANC SIGN */
        };
        "\U0047" = {
            "\U0028" = ("insertText:", "\U011E"); /* Compose, LATIN CAPITAL LETTER G, LEFT PARENTHESIS: LATIN CAPITAL LETTER G WITH BREVE */
            "\U002C" = ("insertText:", "\U0122"); /* Compose, LATIN CAPITAL LETTER G, COMMA: LATIN CAPITAL LETTER G WITH CEDILLA */
            "\U002E" = ("insertText:", "\U0120"); /* Compose, LATIN CAPITAL LETTER G, FULL STOP: LATIN CAPITAL LETTER G WITH DOT ABOVE */
            "\U0055" = ("insertText:", "\U011E"); /* Compose, LATIN CAPITAL LETTER G, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER G WITH BREVE */
            "\U01A2" = ("insertText:", "\U011E"); /* Compose, LATIN CAPITAL LETTER G, LATIN CAPITAL LETTER GHA: LATIN CAPITAL LETTER G WITH BREVE */
        };
        "\U0048" = {
            "\U002C" = ("insertText:", "\U1E28"); /* Compose, LATIN CAPITAL LETTER H, COMMA: LATIN CAPITAL LETTER H WITH CEDILLA */
        };
        "\U0049" = {
            "\U0022" = ("insertText:", "\U00CF"); /* Compose, LATIN CAPITAL LETTER I, QUOTATION MARK: LATIN CAPITAL LETTER I WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00CD"); /* Compose, LATIN CAPITAL LETTER I, APOSTROPHE: LATIN CAPITAL LETTER I WITH ACUTE */
            "\U002C" = ("insertText:", "\U012E"); /* Compose, LATIN CAPITAL LETTER I, COMMA: LATIN CAPITAL LETTER I WITH OGONEK */
            "\U002D" = ("insertText:", "\U012A"); /* Compose, LATIN CAPITAL LETTER I, HYPHEN-MINUS: LATIN CAPITAL LETTER I WITH MACRON */
            "\U002E" = ("insertText:", "\U0130"); /* Compose, LATIN CAPITAL LETTER I, FULL STOP: LATIN CAPITAL LETTER I WITH DOT ABOVE */
            "\U003E" = ("insertText:", "\U00CE"); /* Compose, LATIN CAPITAL LETTER I, GREATER-THAN SIGN: LATIN CAPITAL LETTER I WITH CIRCUMFLEX */
            "\U004A" = ("insertText:", "\U0132"); /* Compose, LATIN CAPITAL LETTER I, LATIN CAPITAL LETTER J: LATIN CAPITAL LIGATURE IJ */
            "\U005E" = ("insertText:", "\U00CE"); /* Compose, LATIN CAPITAL LETTER I, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER I WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U012A"); /* Compose, LATIN CAPITAL LETTER I, LOW LINE: LATIN CAPITAL LETTER I WITH MACRON */
            "\U0060" = ("insertText:", "\U00CC"); /* Compose, LATIN CAPITAL LETTER I, GRAVE ACCENT: LATIN CAPITAL LETTER I WITH GRAVE */
            "\U006A" = ("insertText:", "\U0132"); /* Compose, LATIN CAPITAL LETTER I, LATIN SMALL LETTER J: LATIN CAPITAL LIGATURE IJ */
            "\U007E" = ("insertText:", "\U0128"); /* Compose, LATIN CAPITAL LETTER I, TILDE: LATIN CAPITAL LETTER I WITH TILDE */
            "\U00A8" = ("insertText:", "\U00CF"); /* Compose, LATIN CAPITAL LETTER I, DIAERESIS: LATIN CAPITAL LETTER I WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00CD"); /* Compose, LATIN CAPITAL LETTER I, ACUTE ACCENT: LATIN CAPITAL LETTER I WITH ACUTE */
        };
        "\U004B" = {
            "\U002C" = ("insertText:", "\U0136"); /* Compose, LATIN CAPITAL LETTER K, COMMA: LATIN CAPITAL LETTER K WITH CEDILLA */
        };
        "\U004C" = {
            "\U0027" = ("insertText:", "\U0139"); /* Compose, LATIN CAPITAL LETTER L, APOSTROPHE: LATIN CAPITAL LETTER L WITH ACUTE */
            "\U002C" = ("insertText:", "\U013B"); /* Compose, LATIN CAPITAL LETTER L, COMMA: LATIN CAPITAL LETTER L WITH CEDILLA */
            "\U002D" = ("insertText:", "\U00A3"); /* Compose, LATIN CAPITAL LETTER L, HYPHEN-MINUS: POUND SIGN */
            "\U002F" = ("insertText:", "\U0141"); /* Compose, LATIN CAPITAL LETTER L, SOLIDUS: LATIN CAPITAL LETTER L WITH STROKE */
            "\U003C" = ("insertText:", "\U013D"); /* Compose, LATIN CAPITAL LETTER L, LESS-THAN SIGN: LATIN CAPITAL LETTER L WITH CARON */
            "\U003D" = ("insertText:", "\U20A4"); /* Compose, LATIN CAPITAL LETTER L, EQUALS SIGN: LIRA SIGN */
            "\U0056" = ("insertText:", "\U007C"); /* Compose, LATIN CAPITAL LETTER L, LATIN CAPITAL LETTER V: VERTICAL LINE */
        };
        "\U004D" = {
            "\U002E" = ("insertText:", "\U1E40"); /* Compose, LATIN CAPITAL LETTER M, FULL STOP: LATIN CAPITAL LETTER M WITH DOT ABOVE */
        };
        "\U004E" = {
            "\U0027" = ("insertText:", "\U0143"); /* Compose, LATIN CAPITAL LETTER N, APOSTROPHE: LATIN CAPITAL LETTER N WITH ACUTE */
            "\U002C" = ("insertText:", "\U0145"); /* Compose, LATIN CAPITAL LETTER N, COMMA: LATIN CAPITAL LETTER N WITH CEDILLA */
            "\U002D" = ("insertText:", "\U00D1"); /* Compose, LATIN CAPITAL LETTER N, HYPHEN-MINUS: LATIN CAPITAL LETTER N WITH TILDE */
            "\U003C" = ("insertText:", "\U0147"); /* Compose, LATIN CAPITAL LETTER N, LESS-THAN SIGN: LATIN CAPITAL LETTER N WITH CARON */
            "\U003D" = ("insertText:", "\U20A6"); /* Compose, LATIN CAPITAL LETTER N, EQUALS SIGN: NAIRA SIGN */
            "\U0047" = ("insertText:", "\U014A"); /* Compose, LATIN CAPITAL LETTER N, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER ENG */
            "\U004F" = ("insertText:", "\U2116"); /* Compose, LATIN CAPITAL LETTER N, LATIN CAPITAL LETTER O: NUMERO SIGN */
            "\U006F" = ("insertText:", "\U2116"); /* Compose, LATIN CAPITAL LETTER N, LATIN SMALL LETTER O: NUMERO SIGN */
            "\U007E" = ("insertText:", "\U00D1"); /* Compose, LATIN CAPITAL LETTER N, TILDE: LATIN CAPITAL LETTER N WITH TILDE */
        };
        "\U004F" = {
            "\U0022" = ("insertText:", "\U00D6"); /* Compose, LATIN CAPITAL LETTER O, QUOTATION MARK: LATIN CAPITAL LETTER O WITH DIAERESIS */
            "\U002D" = ("insertText:", "\U00D5"); /* Compose, LATIN CAPITAL LETTER O, HYPHEN-MINUS: LATIN CAPITAL LETTER O WITH TILDE */
            "\U002F" = ("insertText:", "\U00D8"); /* Compose, LATIN CAPITAL LETTER O, SOLIDUS: LATIN CAPITAL LETTER O WITH STROKE */
            "\U003E" = ("insertText:", "\U00D4"); /* Compose, LATIN CAPITAL LETTER O, GREATER-THAN SIGN: LATIN CAPITAL LETTER O WITH CIRCUMFLEX */
            "\U0041" = ("insertText:", "\U24B6"); /* Compose, LATIN CAPITAL LETTER O, LATIN CAPITAL LETTER A: CIRCLED LATIN CAPITAL LETTER A */
            "\U0043" = ("insertText:", "\U00A9"); /* Compose, LATIN CAPITAL LETTER O, LATIN CAPITAL LETTER C: COPYRIGHT SIGN */
            "\U0045" = ("insertText:", "\U0152"); /* Compose, LATIN CAPITAL LETTER O, LATIN CAPITAL LETTER E: LATIN CAPITAL LIGATURE OE */
            "\U0052" = ("insertText:", "\U00AE"); /* Compose, LATIN CAPITAL LETTER O, LATIN CAPITAL LETTER R: REGISTERED SIGN */
            "\U0053" = ("insertText:", "\U00A7"); /* Compose, LATIN CAPITAL LETTER O, LATIN CAPITAL LETTER S: SECTION SIGN */
            "\U0058" = ("insertText:", "\U00A4"); /* Compose, LATIN CAPITAL LETTER O, LATIN CAPITAL LETTER X: CURRENCY SIGN */
            "\U005E" = ("insertText:", "\U00D4"); /* Compose, LATIN CAPITAL LETTER O, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER O WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U014C"); /* Compose, LATIN CAPITAL LETTER O, LOW LINE: LATIN CAPITAL LETTER O WITH MACRON */
            "\U0060" = ("insertText:", "\U00D2"); /* Compose, LATIN CAPITAL LETTER O, GRAVE ACCENT: LATIN CAPITAL LETTER O WITH GRAVE */
            "\U0063" = ("insertText:", "\U00A9"); /* Compose, LATIN CAPITAL LETTER O, LATIN SMALL LETTER C: COPYRIGHT SIGN */
            "\U0072" = ("insertText:", "\U00AE"); /* Compose, LATIN CAPITAL LETTER O, LATIN SMALL LETTER R: REGISTERED SIGN */
            "\U0078" = ("insertText:", "\U00A4"); /* Compose, LATIN CAPITAL LETTER O, LATIN SMALL LETTER X: CURRENCY SIGN */
            "\U007E" = ("insertText:", "\U00D5"); /* Compose, LATIN CAPITAL LETTER O, TILDE: LATIN CAPITAL LETTER O WITH TILDE */
            "\U00A8" = ("insertText:", "\U00D6"); /* Compose, LATIN CAPITAL LETTER O, DIAERESIS: LATIN CAPITAL LETTER O WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00D3"); /* Compose, LATIN CAPITAL LETTER O, ACUTE ACCENT: LATIN CAPITAL LETTER O WITH ACUTE */
        };
        "\U0050" = {
            "\U0021" = ("insertText:", "\U00B6"); /* Compose, LATIN CAPITAL LETTER P, EXCLAMATION MARK: PILCROW SIGN */
            "\U002E" = ("insertText:", "\U1E56"); /* Compose, LATIN CAPITAL LETTER P, FULL STOP: LATIN CAPITAL LETTER P WITH DOT ABOVE */
            "\U0050" = ("insertText:", "\U00B6"); /* Compose, LATIN CAPITAL LETTER P, LATIN CAPITAL LETTER P: PILCROW SIGN */
            "\U0074" = ("insertText:", "\U20A7"); /* Compose, LATIN CAPITAL LETTER P, LATIN SMALL LETTER T: PESETA SIGN */
        };
        "\U0052" = {
            "\U0027" = ("insertText:", "\U0154"); /* Compose, LATIN CAPITAL LETTER R, APOSTROPHE: LATIN CAPITAL LETTER R WITH ACUTE */
            "\U002C" = ("insertText:", "\U0156"); /* Compose, LATIN CAPITAL LETTER R, COMMA: LATIN CAPITAL LETTER R WITH CEDILLA */
            "\U003C" = ("insertText:", "\U0158"); /* Compose, LATIN CAPITAL LETTER R, LESS-THAN SIGN: LATIN CAPITAL LETTER R WITH CARON */
            "\U004F" = ("insertText:", "\U00AE"); /* Compose, LATIN CAPITAL LETTER R, LATIN CAPITAL LETTER O: REGISTERED SIGN */
            "\U0073" = ("insertText:", "\U20A8"); /* Compose, LATIN CAPITAL LETTER R, LATIN SMALL LETTER S: RUPEE SIGN */
        };
        "\U0053" = {
            "\U0021" = ("insertText:", "\U00A7"); /* Compose, LATIN CAPITAL LETTER S, EXCLAMATION MARK: SECTION SIGN */
            "\U0027" = ("insertText:", "\U015A"); /* Compose, LATIN CAPITAL LETTER S, APOSTROPHE: LATIN CAPITAL LETTER S WITH ACUTE */
            "\U002C" = ("insertText:", "\U015E"); /* Compose, LATIN CAPITAL LETTER S, COMMA: LATIN CAPITAL LETTER S WITH CEDILLA */
            "\U002E" = ("insertText:", "\U1E60"); /* Compose, LATIN CAPITAL LETTER S, FULL STOP: LATIN CAPITAL LETTER S WITH DOT ABOVE */
            "\U0031" = ("insertText:", "\U00B9"); /* Compose, LATIN CAPITAL LETTER S, DIGIT ONE: SUPERSCRIPT ONE */
            "\U0032" = ("insertText:", "\U00B2"); /* Compose, LATIN CAPITAL LETTER S, DIGIT TWO: SUPERSCRIPT TWO */
            "\U0033" = ("insertText:", "\U00B3"); /* Compose, LATIN CAPITAL LETTER S, DIGIT THREE: SUPERSCRIPT THREE */
            "\U003C" = ("insertText:", "\U0160"); /* Compose, LATIN CAPITAL LETTER S, LESS-THAN SIGN: LATIN CAPITAL LETTER S WITH CARON */
            "\U004D" = ("insertText:", "\U2120"); /* Compose, LATIN CAPITAL LETTER S, LATIN CAPITAL LETTER M: SERVICE MARK */
            "\U004F" = ("insertText:", "\U00A7"); /* Compose, LATIN CAPITAL LETTER S, LATIN CAPITAL LETTER O: SECTION SIGN */
            "\U0053" = ("insertText:", "\U1E9E"); /* Compose, LATIN CAPITAL LETTER S, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER SHARP S */
            "\U006D" = ("insertText:", "\U2120"); /* Compose, LATIN CAPITAL LETTER S, LATIN SMALL LETTER M: SERVICE MARK */
        };
        "\U0054" = {
            "\U002C" = ("insertText:", "\U0162"); /* Compose, LATIN CAPITAL LETTER T, COMMA: LATIN CAPITAL LETTER T WITH CEDILLA */
            "\U002D" = ("insertText:", "\U0166"); /* Compose, LATIN CAPITAL LETTER T, HYPHEN-MINUS: LATIN CAPITAL LETTER T WITH STROKE */
            "\U002E" = ("insertText:", "\U1E6A"); /* Compose, LATIN CAPITAL LETTER T, FULL STOP: LATIN CAPITAL LETTER T WITH DOT ABOVE */
            "\U002F" = ("insertText:", "\U0166"); /* Compose, LATIN CAPITAL LETTER T, SOLIDUS: LATIN CAPITAL LETTER T WITH STROKE */
            "\U003C" = ("insertText:", "\U0164"); /* Compose, LATIN CAPITAL LETTER T, LESS-THAN SIGN: LATIN CAPITAL LETTER T WITH CARON */
            "\U0048" = ("insertText:", "\U00DE"); /* Compose, LATIN CAPITAL LETTER T, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER THORN */
            "\U004D" = ("insertText:", "\U2122"); /* Compose, LATIN CAPITAL LETTER T, LATIN CAPITAL LETTER M: TRADE MARK SIGN */
            "\U006D" = ("insertText:", "\U2122"); /* Compose, LATIN CAPITAL LETTER T, LATIN SMALL LETTER M: TRADE MARK SIGN */
        };
        "\U0055" = {
            "\U0020" = {
                "\U002C" = {
                    "\U0045" = ("insertText:", "\U1E1C"); /* Compose, LATIN CAPITAL LETTER U, SPACE, COMMA, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CEDILLA AND BREVE */
                    "\U0065" = ("insertText:", "\U1E1D"); /* Compose, LATIN CAPITAL LETTER U, SPACE, COMMA, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CEDILLA AND BREVE */
                };
            };
            "\U0021" = {
                "\U0041" = ("insertText:", "\U1EB6"); /* Compose, LATIN CAPITAL LETTER U, EXCLAMATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND DOT BELOW */
                "\U0061" = ("insertText:", "\U1EB7"); /* Compose, LATIN CAPITAL LETTER U, EXCLAMATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND DOT BELOW */
            };
            "\U0022" = ("insertText:", "\U00DC"); /* Compose, LATIN CAPITAL LETTER U, QUOTATION MARK: LATIN CAPITAL LETTER U WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00DA"); /* Compose, LATIN CAPITAL LETTER U, APOSTROPHE: LATIN CAPITAL LETTER U WITH ACUTE */
            "\U002A" = ("insertText:", "\U016E"); /* Compose, LATIN CAPITAL LETTER U, ASTERISK: LATIN CAPITAL LETTER U WITH RING ABOVE */
            "\U002C" = ("insertText:", "\U0172"); /* Compose, LATIN CAPITAL LETTER U, COMMA: LATIN CAPITAL LETTER U WITH OGONEK */
            "\U002D" = ("insertText:", "\U016A"); /* Compose, LATIN CAPITAL LETTER U, HYPHEN-MINUS: LATIN CAPITAL LETTER U WITH MACRON */
            "\U002F" = ("insertText:", "\U00B5"); /* Compose, LATIN CAPITAL LETTER U, SOLIDUS: MICRO SIGN */
            "\U003E" = ("insertText:", "\U00DB"); /* Compose, LATIN CAPITAL LETTER U, GREATER-THAN SIGN: LATIN CAPITAL LETTER U WITH CIRCUMFLEX */
            "\U0041" = ("insertText:", "\U0102"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE */
            "\U0045" = ("insertText:", "\U0114"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH BREVE */
            "\U0047" = ("insertText:", "\U011E"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH BREVE */
            "\U0049" = ("insertText:", "\U012C"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH BREVE */
            "\U004F" = ("insertText:", "\U014E"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH BREVE */
            "\U0055" = ("insertText:", "\U016C"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH BREVE */
            "\U005E" = ("insertText:", "\U00DB"); /* Compose, LATIN CAPITAL LETTER U, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER U WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U016A"); /* Compose, LATIN CAPITAL LETTER U, LOW LINE: LATIN CAPITAL LETTER U WITH MACRON */
            "\U0060" = ("insertText:", "\U00D9"); /* Compose, LATIN CAPITAL LETTER U, GRAVE ACCENT: LATIN CAPITAL LETTER U WITH GRAVE */
            "\U0061" = ("insertText:", "\U0103"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE */
            "\U0065" = ("insertText:", "\U0115"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH BREVE */
            "\U0067" = ("insertText:", "\U011F"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH BREVE */
            "\U0069" = ("insertText:", "\U012D"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH BREVE */
            "\U006F" = ("insertText:", "\U014F"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH BREVE */
            "\U0075" = ("insertText:", "\U016D"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH BREVE */
            "\U007E" = ("insertText:", "\U0168"); /* Compose, LATIN CAPITAL LETTER U, TILDE: LATIN CAPITAL LETTER U WITH TILDE */
            "\U00A8" = ("insertText:", "\U00DC"); /* Compose, LATIN CAPITAL LETTER U, DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00DA"); /* Compose, LATIN CAPITAL LETTER U, ACUTE ACCENT: LATIN CAPITAL LETTER U WITH ACUTE */
            "\U00B8" = {
                "\U0045" = ("insertText:", "\U1E1C"); /* Compose, LATIN CAPITAL LETTER U, CEDILLA, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CEDILLA AND BREVE */
                "\U0065" = ("insertText:", "\U1E1D"); /* Compose, LATIN CAPITAL LETTER U, CEDILLA, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CEDILLA AND BREVE */
            };
            "\U0228" = ("insertText:", "\U1E1C"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER E WITH CEDILLA: LATIN CAPITAL LETTER E WITH CEDILLA AND BREVE */
            "\U0229" = ("insertText:", "\U1E1D"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER E WITH CEDILLA: LATIN SMALL LETTER E WITH CEDILLA AND BREVE */
            "\U06C1" = ("insertText:", "\U04D1"); /* Compose, LATIN CAPITAL LETTER U, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A WITH BREVE */
            "\U06C5" = ("insertText:", "\U04D7"); /* Compose, LATIN CAPITAL LETTER U, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE WITH BREVE */
            "\U06C9" = ("insertText:", "\U0439"); /* Compose, LATIN CAPITAL LETTER U, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER SHORT I */
            "\U06D5" = ("insertText:", "\U045E"); /* Compose, LATIN CAPITAL LETTER U, ARABIC LETTER AE: CYRILLIC SMALL LETTER SHORT U */
            "\U06D6" = ("insertText:", "\U04C2"); /* Compose, LATIN CAPITAL LETTER U, ARABIC SMALL HIGH LIGATURE SAD WITH LAM WITH ALEF MAKSURA: CYRILLIC SMALL LETTER ZHE WITH BREVE */
            "\U06E1" = ("insertText:", "\U04D0"); /* Compose, LATIN CAPITAL LETTER U, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A WITH BREVE */
            "\U06E5" = ("insertText:", "\U04D6"); /* Compose, LATIN CAPITAL LETTER U, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE WITH BREVE */
            "\U06E9" = ("insertText:", "\U0419"); /* Compose, LATIN CAPITAL LETTER U, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER SHORT I */
            "\U06F5" = ("insertText:", "\U040E"); /* Compose, LATIN CAPITAL LETTER U, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER SHORT U */
            "\U06F6" = ("insertText:", "\U04C1"); /* Compose, LATIN CAPITAL LETTER U, EXTENDED ARABIC-INDIC DIGIT SIX: CYRILLIC CAPITAL LETTER ZHE WITH BREVE */
            "\U07C1" = ("insertText:", "\U1FB8"); /* Compose, LATIN CAPITAL LETTER U, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH VRACHY */
            "\U07C9" = ("insertText:", "\U1FD8"); /* Compose, LATIN CAPITAL LETTER U, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH VRACHY */
            "\U07D5" = ("insertText:", "\U1FE8"); /* Compose, LATIN CAPITAL LETTER U, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH VRACHY */
            "\U07E1" = ("insertText:", "\U1FB0"); /* Compose, LATIN CAPITAL LETTER U, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH VRACHY */
            "\U07E9" = ("insertText:", "\U1FD0"); /* Compose, LATIN CAPITAL LETTER U, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH VRACHY */
            "\U07F5" = ("insertText:", "\U1FE0"); /* Compose, LATIN CAPITAL LETTER U, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH VRACHY */
            "\U1EA0" = ("insertText:", "\U1EB6"); /* Compose, LATIN CAPITAL LETTER U, LATIN CAPITAL LETTER A WITH DOT BELOW: LATIN CAPITAL LETTER A WITH BREVE AND DOT BELOW */
            "\U1EA1" = ("insertText:", "\U1EB7"); /* Compose, LATIN CAPITAL LETTER U, LATIN SMALL LETTER A WITH DOT BELOW: LATIN SMALL LETTER A WITH BREVE AND DOT BELOW */
        };
        "\U0056" = {
            "\U004C" = ("insertText:", "\U007C"); /* Compose, LATIN CAPITAL LETTER V, LATIN CAPITAL LETTER L: VERTICAL LINE */
        };
        "\U0057" = {
            "\U003D" = ("insertText:", "\U20A9"); /* Compose, LATIN CAPITAL LETTER W, EQUALS SIGN: WON SIGN */
            "\U005E" = ("insertText:", "\U0174"); /* Compose, LATIN CAPITAL LETTER W, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER W WITH CIRCUMFLEX */
        };
        "\U0058" = {
            "\U004F" = ("insertText:", "\U00A4"); /* Compose, LATIN CAPITAL LETTER X, LATIN CAPITAL LETTER O: CURRENCY SIGN */
            "\U006F" = ("insertText:", "\U00A4"); /* Compose, LATIN CAPITAL LETTER X, LATIN SMALL LETTER O: CURRENCY SIGN */
        };
        "\U0059" = {
            "\U0022" = ("insertText:", "\U0178"); /* Compose, LATIN CAPITAL LETTER Y, QUOTATION MARK: LATIN CAPITAL LETTER Y WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00DD"); /* Compose, LATIN CAPITAL LETTER Y, APOSTROPHE: LATIN CAPITAL LETTER Y WITH ACUTE */
            "\U002D" = ("insertText:", "\U00A5"); /* Compose, LATIN CAPITAL LETTER Y, HYPHEN-MINUS: YEN SIGN */
            "\U003D" = ("insertText:", "\U00A5"); /* Compose, LATIN CAPITAL LETTER Y, EQUALS SIGN: YEN SIGN */
            "\U005E" = ("insertText:", "\U0176"); /* Compose, LATIN CAPITAL LETTER Y, CIRCUMFLEX ACCENT: LATIN CAPITAL LETTER Y WITH CIRCUMFLEX */
            "\U00A8" = ("insertText:", "\U0178"); /* Compose, LATIN CAPITAL LETTER Y, DIAERESIS: LATIN CAPITAL LETTER Y WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00DD"); /* Compose, LATIN CAPITAL LETTER Y, ACUTE ACCENT: LATIN CAPITAL LETTER Y WITH ACUTE */
        };
        "\U005A" = {
            "\U0027" = ("insertText:", "\U0179"); /* Compose, LATIN CAPITAL LETTER Z, APOSTROPHE: LATIN CAPITAL LETTER Z WITH ACUTE */
            "\U002E" = ("insertText:", "\U017B"); /* Compose, LATIN CAPITAL LETTER Z, FULL STOP: LATIN CAPITAL LETTER Z WITH DOT ABOVE */
            "\U003C" = ("insertText:", "\U017D"); /* Compose, LATIN CAPITAL LETTER Z, LESS-THAN SIGN: LATIN CAPITAL LETTER Z WITH CARON */
        };
        "\U005C" = {
            "\U006F" = {
                "\U002F" = ("insertText:", "\U1F64C"); /* Compose, REVERSE SOLIDUS, LATIN SMALL LETTER O, SOLIDUS: PERSON RAISING BOTH HANDS IN CELEBRATION */
            };
        };
        "\U005E" = {
            "\U0020" = ("insertText:", "\U005E"); /* Compose, CIRCUMFLEX ACCENT, SPACE: CIRCUMFLEX ACCENT */
            "\U0021" = {
                "\U0041" = ("insertText:", "\U1EAC"); /* Compose, CIRCUMFLEX ACCENT, EXCLAMATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND DOT BELOW */
                "\U0045" = ("insertText:", "\U1EC6"); /* Compose, CIRCUMFLEX ACCENT, EXCLAMATION MARK, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND DOT BELOW */
                "\U004F" = ("insertText:", "\U1ED8"); /* Compose, CIRCUMFLEX ACCENT, EXCLAMATION MARK, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND DOT BELOW */
                "\U0061" = ("insertText:", "\U1EAD"); /* Compose, CIRCUMFLEX ACCENT, EXCLAMATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX AND DOT BELOW */
                "\U0065" = ("insertText:", "\U1EC7"); /* Compose, CIRCUMFLEX ACCENT, EXCLAMATION MARK, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX AND DOT BELOW */
                "\U006F" = ("insertText:", "\U1ED9"); /* Compose, CIRCUMFLEX ACCENT, EXCLAMATION MARK, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX AND DOT BELOW */
            };
            "\U0028" = ("insertText:", "\U207D"); /* Compose, CIRCUMFLEX ACCENT, LEFT PARENTHESIS: SUPERSCRIPT LEFT PARENTHESIS */
            "\U0029" = ("insertText:", "\U207E"); /* Compose, CIRCUMFLEX ACCENT, RIGHT PARENTHESIS: SUPERSCRIPT RIGHT PARENTHESIS */
            "\U002B" = ("insertText:", "\U207A"); /* Compose, CIRCUMFLEX ACCENT, PLUS SIGN: SUPERSCRIPT PLUS SIGN */
            "\U002D" = ("insertText:", "\U00AF"); /* Compose, CIRCUMFLEX ACCENT, HYPHEN-MINUS: MACRON */
            "\U002E" = ("insertText:", "\U00B7"); /* Compose, CIRCUMFLEX ACCENT, FULL STOP: MIDDLE DOT */
            "\U002F" = ("insertText:", "\U007C"); /* Compose, CIRCUMFLEX ACCENT, SOLIDUS: VERTICAL LINE */
            "\U0030" = ("insertText:", "\U2070"); /* Compose, CIRCUMFLEX ACCENT, DIGIT ZERO: SUPERSCRIPT ZERO */
            "\U0031" = ("insertText:", "\U00B9"); /* Compose, CIRCUMFLEX ACCENT, DIGIT ONE: SUPERSCRIPT ONE */
            "\U0032" = ("insertText:", "\U00B2"); /* Compose, CIRCUMFLEX ACCENT, DIGIT TWO: SUPERSCRIPT TWO */
            "\U0033" = ("insertText:", "\U00B3"); /* Compose, CIRCUMFLEX ACCENT, DIGIT THREE: SUPERSCRIPT THREE */
            "\U0034" = ("insertText:", "\U2074"); /* Compose, CIRCUMFLEX ACCENT, DIGIT FOUR: SUPERSCRIPT FOUR */
            "\U0035" = ("insertText:", "\U2075"); /* Compose, CIRCUMFLEX ACCENT, DIGIT FIVE: SUPERSCRIPT FIVE */
            "\U0036" = ("insertText:", "\U2076"); /* Compose, CIRCUMFLEX ACCENT, DIGIT SIX: SUPERSCRIPT SIX */
            "\U0037" = ("insertText:", "\U2077"); /* Compose, CIRCUMFLEX ACCENT, DIGIT SEVEN: SUPERSCRIPT SEVEN */
            "\U0038" = ("insertText:", "\U2078"); /* Compose, CIRCUMFLEX ACCENT, DIGIT EIGHT: SUPERSCRIPT EIGHT */
            "\U0039" = ("insertText:", "\U2079"); /* Compose, CIRCUMFLEX ACCENT, DIGIT NINE: SUPERSCRIPT NINE */
            "\U003D" = ("insertText:", "\U207C"); /* Compose, CIRCUMFLEX ACCENT, EQUALS SIGN: SUPERSCRIPT EQUALS SIGN */
            "\U0041" = ("insertText:", "\U00C2"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX */
            "\U0043" = ("insertText:", "\U0108"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CIRCUMFLEX */
            "\U0045" = ("insertText:", "\U00CA"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX */
            "\U0047" = ("insertText:", "\U011C"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH CIRCUMFLEX */
            "\U0048" = ("insertText:", "\U0124"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH CIRCUMFLEX */
            "\U0049" = ("insertText:", "\U00CE"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH CIRCUMFLEX */
            "\U004A" = ("insertText:", "\U0134"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER J: LATIN CAPITAL LETTER J WITH CIRCUMFLEX */
            "\U004F" = ("insertText:", "\U00D4"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX */
            "\U0053" = ("insertText:", "\U015C"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH CIRCUMFLEX */
            "\U0055" = ("insertText:", "\U00DB"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH CIRCUMFLEX */
            "\U0057" = ("insertText:", "\U0174"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH CIRCUMFLEX */
            "\U0059" = ("insertText:", "\U0176"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH CIRCUMFLEX */
            "\U005A" = ("insertText:", "\U1E90"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH CIRCUMFLEX */
            "\U005F" = {
                "\U0061" = ("insertText:", "\U00AA"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER A: FEMININE ORDINAL INDICATOR */
                "\U0068" = ("insertText:", "\U02B0"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER H: MODIFIER LETTER SMALL H */
                "\U0069" = ("insertText:", "\U2071"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER I: SUPERSCRIPT LATIN SMALL LETTER I */
                "\U006A" = ("insertText:", "\U02B2"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER J: MODIFIER LETTER SMALL J */
                "\U006C" = ("insertText:", "\U02E1"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER L: MODIFIER LETTER SMALL L */
                "\U006E" = ("insertText:", "\U207F"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER N: SUPERSCRIPT LATIN SMALL LETTER N */
                "\U006F" = ("insertText:", "\U00BA"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER O: MASCULINE ORDINAL INDICATOR */
                "\U0072" = ("insertText:", "\U02B3"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER R: MODIFIER LETTER SMALL R */
                "\U0073" = ("insertText:", "\U02E2"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER S: MODIFIER LETTER SMALL S */
                "\U0077" = ("insertText:", "\U02B7"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER W: MODIFIER LETTER SMALL W */
                "\U0078" = ("insertText:", "\U02E3"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER X: MODIFIER LETTER SMALL X */
                "\U0079" = ("insertText:", "\U02B8"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER Y: MODIFIER LETTER SMALL Y */
                "\U0263" = ("insertText:", "\U02E0"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER GAMMA: MODIFIER LETTER SMALL GAMMA */
                "\U0266" = ("insertText:", "\U02B1"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER H WITH HOOK: MODIFIER LETTER SMALL H WITH HOOK */
                "\U0279" = ("insertText:", "\U02B4"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER TURNED R: MODIFIER LETTER SMALL TURNED R */
                "\U027B" = ("insertText:", "\U02B5"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN SMALL LETTER TURNED R WITH HOOK: MODIFIER LETTER SMALL TURNED R WITH HOOK */
                "\U0281" = ("insertText:", "\U02B6"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN LETTER SMALL CAPITAL INVERTED R: MODIFIER LETTER SMALL CAPITAL INVERTED R */
                "\U0295" = ("insertText:", "\U02E4"); /* Compose, CIRCUMFLEX ACCENT, LOW LINE, LATIN LETTER PHARYNGEAL VOICED FRICATIVE: MODIFIER LETTER SMALL REVERSED GLOTTAL STOP */
            };
            "\U0061" = ("insertText:", "\U00E2"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX */
            "\U0063" = ("insertText:", "\U0109"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CIRCUMFLEX */
            "\U0065" = ("insertText:", "\U00EA"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX */
            "\U0067" = ("insertText:", "\U011D"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH CIRCUMFLEX */
            "\U0068" = ("insertText:", "\U0125"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH CIRCUMFLEX */
            "\U0069" = ("insertText:", "\U00EE"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH CIRCUMFLEX */
            "\U006A" = ("insertText:", "\U0135"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER J: LATIN SMALL LETTER J WITH CIRCUMFLEX */
            "\U006F" = ("insertText:", "\U00F4"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX */
            "\U0073" = ("insertText:", "\U015D"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH CIRCUMFLEX */
            "\U0075" = ("insertText:", "\U00FB"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH CIRCUMFLEX */
            "\U0077" = ("insertText:", "\U0175"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH CIRCUMFLEX */
            "\U0079" = ("insertText:", "\U0177"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH CIRCUMFLEX */
            "\U007A" = ("insertText:", "\U1E91"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH CIRCUMFLEX */
            "\U06C1" = ("insertText:", "\U0430"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
            "\U06C5" = ("insertText:", "\U0435"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE */
            "\U06C9" = ("insertText:", "\U0438"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I */
            "\U06CF" = ("insertText:", "\U043E"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
            "\U06D2" = ("insertText:", "\U0440"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
            "\U06D5" = ("insertText:", "\U0443"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER AE: CYRILLIC SMALL LETTER U */
            "\U06E1" = ("insertText:", "\U0410"); /* Compose, CIRCUMFLEX ACCENT, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
            "\U06E5" = ("insertText:", "\U0415"); /* Compose, CIRCUMFLEX ACCENT, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE */
            "\U06E9" = ("insertText:", "\U0418"); /* Compose, CIRCUMFLEX ACCENT, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I */
            "\U06EF" = ("insertText:", "\U041E"); /* Compose, CIRCUMFLEX ACCENT, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
            "\U06F2" = ("insertText:", "\U0420"); /* Compose, CIRCUMFLEX ACCENT, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
            "\U06F5" = ("insertText:", "\U0423"); /* Compose, CIRCUMFLEX ACCENT, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U */
            "\U0BC6" = {
                "\U0061" = ("insertText:", "\U00AA"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER A: FEMININE ORDINAL INDICATOR */
                "\U0068" = ("insertText:", "\U02B0"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER H: MODIFIER LETTER SMALL H */
                "\U0069" = ("insertText:", "\U2071"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER I: SUPERSCRIPT LATIN SMALL LETTER I */
                "\U006A" = ("insertText:", "\U02B2"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER J: MODIFIER LETTER SMALL J */
                "\U006C" = ("insertText:", "\U02E1"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER L: MODIFIER LETTER SMALL L */
                "\U006E" = ("insertText:", "\U207F"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER N: SUPERSCRIPT LATIN SMALL LETTER N */
                "\U006F" = ("insertText:", "\U00BA"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER O: MASCULINE ORDINAL INDICATOR */
                "\U0072" = ("insertText:", "\U02B3"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER R: MODIFIER LETTER SMALL R */
                "\U0073" = ("insertText:", "\U02E2"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER S: MODIFIER LETTER SMALL S */
                "\U0077" = ("insertText:", "\U02B7"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER W: MODIFIER LETTER SMALL W */
                "\U0078" = ("insertText:", "\U02E3"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER X: MODIFIER LETTER SMALL X */
                "\U0079" = ("insertText:", "\U02B8"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER Y: MODIFIER LETTER SMALL Y */
                "\U0263" = ("insertText:", "\U02E0"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER GAMMA: MODIFIER LETTER SMALL GAMMA */
                "\U0266" = ("insertText:", "\U02B1"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER H WITH HOOK: MODIFIER LETTER SMALL H WITH HOOK */
                "\U0279" = ("insertText:", "\U02B4"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER TURNED R: MODIFIER LETTER SMALL TURNED R */
                "\U027B" = ("insertText:", "\U02B5"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN SMALL LETTER TURNED R WITH HOOK: MODIFIER LETTER SMALL TURNED R WITH HOOK */
                "\U0281" = ("insertText:", "\U02B6"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN LETTER SMALL CAPITAL INVERTED R: MODIFIER LETTER SMALL CAPITAL INVERTED R */
                "\U0295" = ("insertText:", "\U02E4"); /* Compose, CIRCUMFLEX ACCENT, TAMIL VOWEL SIGN E, LATIN LETTER PHARYNGEAL VOICED FRICATIVE: MODIFIER LETTER SMALL REVERSED GLOTTAL STOP */
            };
            "\U1EA0" = ("insertText:", "\U1EAC"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A WITH DOT BELOW: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND DOT BELOW */
            "\U1EA1" = ("insertText:", "\U1EAD"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A WITH DOT BELOW: LATIN SMALL LETTER A WITH CIRCUMFLEX AND DOT BELOW */
            "\U1EB8" = ("insertText:", "\U1EC6"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E WITH DOT BELOW: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND DOT BELOW */
            "\U1EB9" = ("insertText:", "\U1EC7"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E WITH DOT BELOW: LATIN SMALL LETTER E WITH CIRCUMFLEX AND DOT BELOW */
            "\U1ECC" = ("insertText:", "\U1ED8"); /* Compose, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O WITH DOT BELOW: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND DOT BELOW */
            "\U1ECD" = ("insertText:", "\U1ED9"); /* Compose, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O WITH DOT BELOW: LATIN SMALL LETTER O WITH CIRCUMFLEX AND DOT BELOW */
            "\U2212" = ("insertText:", "\U207B"); /* Compose, CIRCUMFLEX ACCENT, MINUS SIGN: SUPERSCRIPT MINUS */
            "\U4E00" = ("insertText:", "\U3192"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E00: IDEOGRAPHIC ANNOTATION ONE MARK */
            "\U4E01" = ("insertText:", "\U319C"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E01: IDEOGRAPHIC ANNOTATION FOURTH MARK */
            "\U4E09" = ("insertText:", "\U3194"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E09: IDEOGRAPHIC ANNOTATION THREE MARK */
            "\U4E0A" = ("insertText:", "\U3196"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E0A: IDEOGRAPHIC ANNOTATION TOP MARK */
            "\U4E0B" = ("insertText:", "\U3198"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E0B: IDEOGRAPHIC ANNOTATION BOTTOM MARK */
            "\U4E19" = ("insertText:", "\U319B"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E19: IDEOGRAPHIC ANNOTATION THIRD MARK */
            "\U4E2D" = ("insertText:", "\U3197"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E2D: IDEOGRAPHIC ANNOTATION MIDDLE MARK */
            "\U4E59" = ("insertText:", "\U319A"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E59: IDEOGRAPHIC ANNOTATION SECOND MARK */
            "\U4E8C" = ("insertText:", "\U3193"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4E8C: IDEOGRAPHIC ANNOTATION TWO MARK */
            "\U4EBA" = ("insertText:", "\U319F"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-4EBA: IDEOGRAPHIC ANNOTATION MAN MARK */
            "\U56DB" = ("insertText:", "\U3195"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-56DB: IDEOGRAPHIC ANNOTATION FOUR MARK */
            "\U5730" = ("insertText:", "\U319E"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-5730: IDEOGRAPHIC ANNOTATION EARTH MARK */
            "\U5929" = ("insertText:", "\U319D"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-5929: IDEOGRAPHIC ANNOTATION HEAVEN MARK */
            "\U7532" = ("insertText:", "\U3199"); /* Compose, CIRCUMFLEX ACCENT, CJK UNIFIED IDEOGRAPH-7532: IDEOGRAPHIC ANNOTATION FIRST MARK */
            "\UFF80" = ("insertText:", "\U00B2"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH KATAKANA LETTER TA: SUPERSCRIPT TWO */
            "\UFFAB" = ("insertText:", "\U207A"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER RIEUL-MIEUM: SUPERSCRIPT PLUS SIGN */
            "\UFFB0" = ("insertText:", "\U2070"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER RIEUL-HIEUH: SUPERSCRIPT ZERO */
            "\UFFB1" = ("insertText:", "\U00B9"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER MIEUM: SUPERSCRIPT ONE */
            "\UFFB2" = ("insertText:", "\U00B2"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER PIEUP: SUPERSCRIPT TWO */
            "\UFFB3" = ("insertText:", "\U00B3"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER SSANGPIEUP: SUPERSCRIPT THREE */
            "\UFFB4" = ("insertText:", "\U2074"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER PIEUP-SIOS: SUPERSCRIPT FOUR */
            "\UFFB5" = ("insertText:", "\U2075"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER SIOS: SUPERSCRIPT FIVE */
            "\UFFB6" = ("insertText:", "\U2076"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER SSANGSIOS: SUPERSCRIPT SIX */
            "\UFFB7" = ("insertText:", "\U2077"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER IEUNG: SUPERSCRIPT SEVEN */
            "\UFFB8" = ("insertText:", "\U2078"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER CIEUC: SUPERSCRIPT EIGHT */
            "\UFFB9" = ("insertText:", "\U2079"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER SSANGCIEUC: SUPERSCRIPT NINE */
            "\UFFBD" = ("insertText:", "\U207C"); /* Compose, CIRCUMFLEX ACCENT, HALFWIDTH HANGUL LETTER PHIEUPH: SUPERSCRIPT EQUALS SIGN */
        };
        "\U005F" = {
            "\U0021" = {
                "\U004C" = ("insertText:", "\U1E38"); /* Compose, LOW LINE, EXCLAMATION MARK, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH DOT BELOW AND MACRON */
                "\U0052" = ("insertText:", "\U1E5C"); /* Compose, LOW LINE, EXCLAMATION MARK, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH DOT BELOW AND MACRON */
                "\U006C" = ("insertText:", "\U1E39"); /* Compose, LOW LINE, EXCLAMATION MARK, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH DOT BELOW AND MACRON */
                "\U0072" = ("insertText:", "\U1E5D"); /* Compose, LOW LINE, EXCLAMATION MARK, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH DOT BELOW AND MACRON */
            };
            "\U0022" = {
                "\U0041" = ("insertText:", "\U01DE"); /* Compose, LOW LINE, QUOTATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DIAERESIS AND MACRON */
                "\U004F" = ("insertText:", "\U022A"); /* Compose, LOW LINE, QUOTATION MARK, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DIAERESIS AND MACRON */
                "\U0055" = ("insertText:", "\U01D5"); /* Compose, LOW LINE, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS AND MACRON */
                "\U0061" = ("insertText:", "\U01DF"); /* Compose, LOW LINE, QUOTATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DIAERESIS AND MACRON */
                "\U006F" = ("insertText:", "\U022B"); /* Compose, LOW LINE, QUOTATION MARK, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DIAERESIS AND MACRON */
                "\U0075" = ("insertText:", "\U01D6"); /* Compose, LOW LINE, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS AND MACRON */
            };
            "\U0028" = ("insertText:", "\U208D"); /* Compose, LOW LINE, LEFT PARENTHESIS: SUBSCRIPT LEFT PARENTHESIS */
            "\U0029" = ("insertText:", "\U208E"); /* Compose, LOW LINE, RIGHT PARENTHESIS: SUBSCRIPT RIGHT PARENTHESIS */
            "\U002B" = ("insertText:", "\U208A"); /* Compose, LOW LINE, PLUS SIGN: SUBSCRIPT PLUS SIGN */
            "\U002E" = {
                "\U0041" = ("insertText:", "\U01E0"); /* Compose, LOW LINE, FULL STOP, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DOT ABOVE AND MACRON */
                "\U004F" = ("insertText:", "\U0230"); /* Compose, LOW LINE, FULL STOP, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DOT ABOVE AND MACRON */
                "\U0061" = ("insertText:", "\U01E1"); /* Compose, LOW LINE, FULL STOP, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DOT ABOVE AND MACRON */
                "\U006F" = ("insertText:", "\U0231"); /* Compose, LOW LINE, FULL STOP, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DOT ABOVE AND MACRON */
            };
            "\U0030" = ("insertText:", "\U2080"); /* Compose, LOW LINE, DIGIT ZERO: SUBSCRIPT ZERO */
            "\U0031" = ("insertText:", "\U2081"); /* Compose, LOW LINE, DIGIT ONE: SUBSCRIPT ONE */
            "\U0032" = ("insertText:", "\U2082"); /* Compose, LOW LINE, DIGIT TWO: SUBSCRIPT TWO */
            "\U0033" = ("insertText:", "\U2083"); /* Compose, LOW LINE, DIGIT THREE: SUBSCRIPT THREE */
            "\U0034" = ("insertText:", "\U2084"); /* Compose, LOW LINE, DIGIT FOUR: SUBSCRIPT FOUR */
            "\U0035" = ("insertText:", "\U2085"); /* Compose, LOW LINE, DIGIT FIVE: SUBSCRIPT FIVE */
            "\U0036" = ("insertText:", "\U2086"); /* Compose, LOW LINE, DIGIT SIX: SUBSCRIPT SIX */
            "\U0037" = ("insertText:", "\U2087"); /* Compose, LOW LINE, DIGIT SEVEN: SUBSCRIPT SEVEN */
            "\U0038" = ("insertText:", "\U2088"); /* Compose, LOW LINE, DIGIT EIGHT: SUBSCRIPT EIGHT */
            "\U0039" = ("insertText:", "\U2089"); /* Compose, LOW LINE, DIGIT NINE: SUBSCRIPT NINE */
            "\U003B" = {
                "\U004F" = ("insertText:", "\U01EC"); /* Compose, LOW LINE, SEMICOLON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH OGONEK AND MACRON */
                "\U006F" = ("insertText:", "\U01ED"); /* Compose, LOW LINE, SEMICOLON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH OGONEK AND MACRON */
            };
            "\U003D" = ("insertText:", "\U208C"); /* Compose, LOW LINE, EQUALS SIGN: SUBSCRIPT EQUALS SIGN */
            "\U0041" = ("insertText:", "\U0100"); /* Compose, LOW LINE, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH MACRON */
            "\U0045" = ("insertText:", "\U0112"); /* Compose, LOW LINE, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON */
            "\U0047" = ("insertText:", "\U1E20"); /* Compose, LOW LINE, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH MACRON */
            "\U0049" = ("insertText:", "\U012A"); /* Compose, LOW LINE, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH MACRON */
            "\U004F" = ("insertText:", "\U014C"); /* Compose, LOW LINE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON */
            "\U0055" = ("insertText:", "\U016A"); /* Compose, LOW LINE, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH MACRON */
            "\U0059" = ("insertText:", "\U0232"); /* Compose, LOW LINE, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH MACRON */
            "\U005E" = ("insertText:", "\U00AF"); /* Compose, LOW LINE, CIRCUMFLEX ACCENT: MACRON */
            "\U005F" = ("insertText:", "\U00AF"); /* Compose, LOW LINE, LOW LINE: MACRON */
            "\U0061" = ("insertText:", "\U0101"); /* Compose, LOW LINE, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH MACRON */
            "\U0065" = ("insertText:", "\U0113"); /* Compose, LOW LINE, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON */
            "\U0067" = ("insertText:", "\U1E21"); /* Compose, LOW LINE, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH MACRON */
            "\U0069" = ("insertText:", "\U012B"); /* Compose, LOW LINE, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH MACRON */
            "\U006F" = ("insertText:", "\U014D"); /* Compose, LOW LINE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON */
            "\U0075" = ("insertText:", "\U016B"); /* Compose, LOW LINE, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH MACRON */
            "\U0079" = ("insertText:", "\U0233"); /* Compose, LOW LINE, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH MACRON */
            "\U007E" = {
                "\U004F" = ("insertText:", "\U022C"); /* Compose, LOW LINE, TILDE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE AND MACRON */
                "\U006F" = ("insertText:", "\U022D"); /* Compose, LOW LINE, TILDE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE AND MACRON */
            };
            "\U00C4" = ("insertText:", "\U01DE"); /* Compose, LOW LINE, LATIN CAPITAL LETTER A WITH DIAERESIS: LATIN CAPITAL LETTER A WITH DIAERESIS AND MACRON */
            "\U00C6" = ("insertText:", "\U01E2"); /* Compose, LOW LINE, LATIN CAPITAL LETTER AE: LATIN CAPITAL LETTER AE WITH MACRON */
            "\U00D5" = ("insertText:", "\U022C"); /* Compose, LOW LINE, LATIN CAPITAL LETTER O WITH TILDE: LATIN CAPITAL LETTER O WITH TILDE AND MACRON */
            "\U00D6" = ("insertText:", "\U022A"); /* Compose, LOW LINE, LATIN CAPITAL LETTER O WITH DIAERESIS: LATIN CAPITAL LETTER O WITH DIAERESIS AND MACRON */
            "\U00DC" = ("insertText:", "\U01D5"); /* Compose, LOW LINE, LATIN CAPITAL LETTER U WITH DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS AND MACRON */
            "\U00E4" = ("insertText:", "\U01DF"); /* Compose, LOW LINE, LATIN SMALL LETTER A WITH DIAERESIS: LATIN SMALL LETTER A WITH DIAERESIS AND MACRON */
            "\U00E6" = ("insertText:", "\U01E3"); /* Compose, LOW LINE, LATIN SMALL LETTER AE: LATIN SMALL LETTER AE WITH MACRON */
            "\U00F5" = ("insertText:", "\U022D"); /* Compose, LOW LINE, LATIN SMALL LETTER O WITH TILDE: LATIN SMALL LETTER O WITH TILDE AND MACRON */
            "\U00F6" = ("insertText:", "\U022B"); /* Compose, LOW LINE, LATIN SMALL LETTER O WITH DIAERESIS: LATIN SMALL LETTER O WITH DIAERESIS AND MACRON */
            "\U00FC" = ("insertText:", "\U01D6"); /* Compose, LOW LINE, LATIN SMALL LETTER U WITH DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS AND MACRON */
            "\U01EA" = ("insertText:", "\U01EC"); /* Compose, LOW LINE, LATIN CAPITAL LETTER O WITH OGONEK: LATIN CAPITAL LETTER O WITH OGONEK AND MACRON */
            "\U01EB" = ("insertText:", "\U01ED"); /* Compose, LOW LINE, LATIN SMALL LETTER O WITH OGONEK: LATIN SMALL LETTER O WITH OGONEK AND MACRON */
            "\U0226" = ("insertText:", "\U01E0"); /* Compose, LOW LINE, LATIN CAPITAL LETTER A WITH DOT ABOVE: LATIN CAPITAL LETTER A WITH DOT ABOVE AND MACRON */
            "\U0227" = ("insertText:", "\U01E1"); /* Compose, LOW LINE, LATIN SMALL LETTER A WITH DOT ABOVE: LATIN SMALL LETTER A WITH DOT ABOVE AND MACRON */
            "\U022E" = ("insertText:", "\U0230"); /* Compose, LOW LINE, LATIN CAPITAL LETTER O WITH DOT ABOVE: LATIN CAPITAL LETTER O WITH DOT ABOVE AND MACRON */
            "\U022F" = ("insertText:", "\U0231"); /* Compose, LOW LINE, LATIN SMALL LETTER O WITH DOT ABOVE: LATIN SMALL LETTER O WITH DOT ABOVE AND MACRON */
            "\U06C1" = ("insertText:", "\U0430"); /* Compose, LOW LINE, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
            "\U06C5" = ("insertText:", "\U0435"); /* Compose, LOW LINE, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE */
            "\U06C9" = ("insertText:", "\U04E3"); /* Compose, LOW LINE, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I WITH MACRON */
            "\U06CF" = ("insertText:", "\U043E"); /* Compose, LOW LINE, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
            "\U06D2" = ("insertText:", "\U0440"); /* Compose, LOW LINE, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
            "\U06D5" = ("insertText:", "\U04EF"); /* Compose, LOW LINE, ARABIC LETTER AE: CYRILLIC SMALL LETTER U WITH MACRON */
            "\U06E1" = ("insertText:", "\U0410"); /* Compose, LOW LINE, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
            "\U06E5" = ("insertText:", "\U0415"); /* Compose, LOW LINE, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE */
            "\U06E9" = ("insertText:", "\U04E2"); /* Compose, LOW LINE, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I WITH MACRON */
            "\U06EF" = ("insertText:", "\U041E"); /* Compose, LOW LINE, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
            "\U06F2" = ("insertText:", "\U0420"); /* Compose, LOW LINE, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
            "\U06F5" = ("insertText:", "\U04EE"); /* Compose, LOW LINE, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U WITH MACRON */
            "\U07C1" = ("insertText:", "\U1FB9"); /* Compose, LOW LINE, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH MACRON */
            "\U07C9" = ("insertText:", "\U1FD9"); /* Compose, LOW LINE, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH MACRON */
            "\U07D5" = ("insertText:", "\U1FE9"); /* Compose, LOW LINE, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH MACRON */
            "\U07E1" = ("insertText:", "\U1FB1"); /* Compose, LOW LINE, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH MACRON */
            "\U07E9" = ("insertText:", "\U1FD1"); /* Compose, LOW LINE, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH MACRON */
            "\U07F5" = ("insertText:", "\U1FE1"); /* Compose, LOW LINE, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH MACRON */
            "\U1E36" = ("insertText:", "\U1E38"); /* Compose, LOW LINE, LATIN CAPITAL LETTER L WITH DOT BELOW: LATIN CAPITAL LETTER L WITH DOT BELOW AND MACRON */
            "\U1E37" = ("insertText:", "\U1E39"); /* Compose, LOW LINE, LATIN SMALL LETTER L WITH DOT BELOW: LATIN SMALL LETTER L WITH DOT BELOW AND MACRON */
            "\U1E5A" = ("insertText:", "\U1E5C"); /* Compose, LOW LINE, LATIN CAPITAL LETTER R WITH DOT BELOW: LATIN CAPITAL LETTER R WITH DOT BELOW AND MACRON */
            "\U1E5B" = ("insertText:", "\U1E5D"); /* Compose, LOW LINE, LATIN SMALL LETTER R WITH DOT BELOW: LATIN SMALL LETTER R WITH DOT BELOW AND MACRON */
            "\U2212" = ("insertText:", "\U208B"); /* Compose, LOW LINE, MINUS SIGN: SUBSCRIPT MINUS */
            "\UFF80" = ("insertText:", "\U2082"); /* Compose, LOW LINE, HALFWIDTH KATAKANA LETTER TA: SUBSCRIPT TWO */
            "\UFFAB" = ("insertText:", "\U208A"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER RIEUL-MIEUM: SUBSCRIPT PLUS SIGN */
            "\UFFB0" = ("insertText:", "\U2080"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER RIEUL-HIEUH: SUBSCRIPT ZERO */
            "\UFFB1" = ("insertText:", "\U2081"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER MIEUM: SUBSCRIPT ONE */
            "\UFFB2" = ("insertText:", "\U2082"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER PIEUP: SUBSCRIPT TWO */
            "\UFFB3" = ("insertText:", "\U2083"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER SSANGPIEUP: SUBSCRIPT THREE */
            "\UFFB4" = ("insertText:", "\U2084"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER PIEUP-SIOS: SUBSCRIPT FOUR */
            "\UFFB5" = ("insertText:", "\U2085"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER SIOS: SUBSCRIPT FIVE */
            "\UFFB6" = ("insertText:", "\U2086"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER SSANGSIOS: SUBSCRIPT SIX */
            "\UFFB7" = ("insertText:", "\U2087"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER IEUNG: SUBSCRIPT SEVEN */
            "\UFFB8" = ("insertText:", "\U2088"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER CIEUC: SUBSCRIPT EIGHT */
            "\UFFB9" = ("insertText:", "\U2089"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER SSANGCIEUC: SUBSCRIPT NINE */
            "\UFFBD" = ("insertText:", "\U208C"); /* Compose, LOW LINE, HALFWIDTH HANGUL LETTER PHIEUPH: SUBSCRIPT EQUALS SIGN */
        };
        "\U0060" = {
            "\U0020" = ("insertText:", "\U0060"); /* Compose, GRAVE ACCENT, SPACE: GRAVE ACCENT */
            "\U0022" = {
                "\U0055" = ("insertText:", "\U01DB"); /* Compose, GRAVE ACCENT, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS AND GRAVE */
                "\U0075" = ("insertText:", "\U01DC"); /* Compose, GRAVE ACCENT, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS AND GRAVE */
                "\U07E9" = ("insertText:", "\U1FD2"); /* Compose, GRAVE ACCENT, QUOTATION MARK, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND VARIA */
                "\U07F5" = ("insertText:", "\U1FE2"); /* Compose, GRAVE ACCENT, QUOTATION MARK, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND VARIA */
            };
            "\U0028" = {
                "\U07C1" = ("insertText:", "\U1F0B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND VARIA */
                "\U07C5" = ("insertText:", "\U1F1B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH DASIA AND VARIA */
                "\U07C7" = ("insertText:", "\U1F2B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND VARIA */
                "\U07C9" = ("insertText:", "\U1F3B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH DASIA AND VARIA */
                "\U07CF" = ("insertText:", "\U1F4B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH DASIA AND VARIA */
                "\U07D5" = ("insertText:", "\U1F5B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND VARIA */
                "\U07D9" = ("insertText:", "\U1F6B"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND VARIA */
                "\U07E1" = ("insertText:", "\U1F03"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND VARIA */
                "\U07E5" = ("insertText:", "\U1F13"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH DASIA AND VARIA */
                "\U07E7" = ("insertText:", "\U1F23"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND VARIA */
                "\U07E9" = ("insertText:", "\U1F33"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DASIA AND VARIA */
                "\U07EF" = ("insertText:", "\U1F43"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH DASIA AND VARIA */
                "\U07F5" = ("insertText:", "\U1F53"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DASIA AND VARIA */
                "\U07F9" = ("insertText:", "\U1F63"); /* Compose, GRAVE ACCENT, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND VARIA */
            };
            "\U0029" = {
                "\U07C1" = ("insertText:", "\U1F0A"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND VARIA */
                "\U07C5" = ("insertText:", "\U1F1A"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH PSILI AND VARIA */
                "\U07C7" = ("insertText:", "\U1F2A"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND VARIA */
                "\U07C9" = ("insertText:", "\U1F3A"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH PSILI AND VARIA */
                "\U07CF" = ("insertText:", "\U1F4A"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH PSILI AND VARIA */
                "\U07D9" = ("insertText:", "\U1F6A"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND VARIA */
                "\U07E1" = ("insertText:", "\U1F02"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND VARIA */
                "\U07E5" = ("insertText:", "\U1F12"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH PSILI AND VARIA */
                "\U07E7" = ("insertText:", "\U1F22"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND VARIA */
                "\U07E9" = ("insertText:", "\U1F32"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH PSILI AND VARIA */
                "\U07EF" = ("insertText:", "\U1F42"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH PSILI AND VARIA */
                "\U07F5" = ("insertText:", "\U1F52"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH PSILI AND VARIA */
                "\U07F9" = ("insertText:", "\U1F62"); /* Compose, GRAVE ACCENT, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND VARIA */
            };
            "\U002B" = {
                "\U004F" = ("insertText:", "\U1EDC"); /* Compose, GRAVE ACCENT, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN AND GRAVE */
                "\U0055" = ("insertText:", "\U1EEA"); /* Compose, GRAVE ACCENT, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN AND GRAVE */
                "\U006F" = ("insertText:", "\U1EDD"); /* Compose, GRAVE ACCENT, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN AND GRAVE */
                "\U0075" = ("insertText:", "\U1EEB"); /* Compose, GRAVE ACCENT, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN AND GRAVE */
            };
            "\U0041" = ("insertText:", "\U00C0"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH GRAVE */
            "\U0045" = ("insertText:", "\U00C8"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH GRAVE */
            "\U0049" = ("insertText:", "\U00CC"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH GRAVE */
            "\U004E" = ("insertText:", "\U01F8"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH GRAVE */
            "\U004F" = ("insertText:", "\U00D2"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH GRAVE */
            "\U0055" = ("insertText:", "\U00D9"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH GRAVE */
            "\U0057" = ("insertText:", "\U1E80"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH GRAVE */
            "\U0059" = ("insertText:", "\U1EF2"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH GRAVE */
            "\U005E" = {
                "\U0041" = ("insertText:", "\U1EA6"); /* Compose, GRAVE ACCENT, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND GRAVE */
                "\U0045" = ("insertText:", "\U1EC0"); /* Compose, GRAVE ACCENT, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND GRAVE */
                "\U004F" = ("insertText:", "\U1ED2"); /* Compose, GRAVE ACCENT, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND GRAVE */
                "\U0061" = ("insertText:", "\U1EA7"); /* Compose, GRAVE ACCENT, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX AND GRAVE */
                "\U0065" = ("insertText:", "\U1EC1"); /* Compose, GRAVE ACCENT, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX AND GRAVE */
                "\U006F" = ("insertText:", "\U1ED3"); /* Compose, GRAVE ACCENT, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX AND GRAVE */
            };
            "\U005F" = {
                "\U0045" = ("insertText:", "\U1E14"); /* Compose, GRAVE ACCENT, LOW LINE, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON AND GRAVE */
                "\U004F" = ("insertText:", "\U1E50"); /* Compose, GRAVE ACCENT, LOW LINE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON AND GRAVE */
                "\U0065" = ("insertText:", "\U1E15"); /* Compose, GRAVE ACCENT, LOW LINE, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON AND GRAVE */
                "\U006F" = ("insertText:", "\U1E51"); /* Compose, GRAVE ACCENT, LOW LINE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON AND GRAVE */
            };
            "\U0060" = {
                "\U06C1" = ("insertText:", "\U0430"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
                "\U06C5" = ("insertText:", "\U0435"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE */
                "\U06C9" = ("insertText:", "\U0438"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I */
                "\U06CF" = ("insertText:", "\U043E"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
                "\U06D2" = ("insertText:", "\U0440"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
                "\U06D5" = ("insertText:", "\U0443"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER AE: CYRILLIC SMALL LETTER U */
                "\U06E1" = ("insertText:", "\U0410"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
                "\U06E5" = ("insertText:", "\U0415"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE */
                "\U06E9" = ("insertText:", "\U0418"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I */
                "\U06EF" = ("insertText:", "\U041E"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
                "\U06F2" = ("insertText:", "\U0420"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
                "\U06F5" = ("insertText:", "\U0423"); /* Compose, GRAVE ACCENT, GRAVE ACCENT, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U */
            };
            "\U0061" = ("insertText:", "\U00E0"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH GRAVE */
            "\U0062" = {
                "\U0041" = ("insertText:", "\U1EB0"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND GRAVE */
                "\U0061" = ("insertText:", "\U1EB1"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER B, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND GRAVE */
            };
            "\U0065" = ("insertText:", "\U00E8"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH GRAVE */
            "\U0069" = ("insertText:", "\U00EC"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH GRAVE */
            "\U006E" = ("insertText:", "\U01F9"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH GRAVE */
            "\U006F" = ("insertText:", "\U00F2"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH GRAVE */
            "\U0075" = ("insertText:", "\U00F9"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH GRAVE */
            "\U0077" = ("insertText:", "\U1E81"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH GRAVE */
            "\U0079" = ("insertText:", "\U1EF3"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH GRAVE */
            "\U00AF" = {
                "\U0045" = ("insertText:", "\U1E14"); /* Compose, GRAVE ACCENT, MACRON, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON AND GRAVE */
                "\U004F" = ("insertText:", "\U1E50"); /* Compose, GRAVE ACCENT, MACRON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON AND GRAVE */
                "\U0065" = ("insertText:", "\U1E15"); /* Compose, GRAVE ACCENT, MACRON, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON AND GRAVE */
                "\U006F" = ("insertText:", "\U1E51"); /* Compose, GRAVE ACCENT, MACRON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON AND GRAVE */
            };
            "\U00C2" = ("insertText:", "\U1EA6"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER A WITH CIRCUMFLEX: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND GRAVE */
            "\U00CA" = ("insertText:", "\U1EC0"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER E WITH CIRCUMFLEX: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND GRAVE */
            "\U00D4" = ("insertText:", "\U1ED2"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER O WITH CIRCUMFLEX: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND GRAVE */
            "\U00DC" = ("insertText:", "\U01DB"); /* Compose, GRAVE ACCENT, LATIN CAPITAL LETTER U WITH DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS AND GRAVE */
            "\U00E2" = ("insertText:", "\U1EA7"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER A WITH CIRCUMFLEX: LATIN SMALL LETTER A WITH CIRCUMFLEX AND GRAVE */
            "\U00EA" = ("insertText:", "\U1EC1"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER E WITH CIRCUMFLEX: LATIN SMALL LETTER E WITH CIRCUMFLEX AND GRAVE */
            "\U00F4" = ("insertText:", "\U1ED3"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER O WITH CIRCUMFLEX: LATIN SMALL LETTER O WITH CIRCUMFLEX AND GRAVE */
            "\U00FC" = ("insertText:", "\U01DC"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER U WITH DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS AND GRAVE */
            "\U01C3" = ("insertText:", "\U1EB0"); /* Compose, GRAVE ACCENT, LATIN LETTER RETROFLEX CLICK: LATIN CAPITAL LETTER A WITH BREVE AND GRAVE */
            "\U01E3" = ("insertText:", "\U1EB1"); /* Compose, GRAVE ACCENT, LATIN SMALL LETTER AE WITH MACRON: LATIN SMALL LETTER A WITH BREVE AND GRAVE */
            "\U03AA" = ("insertText:", "\U1E14"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER IOTA WITH DIALYTIKA: LATIN CAPITAL LETTER E WITH MACRON AND GRAVE */
            "\U03BA" = ("insertText:", "\U1E15"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER KAPPA: LATIN SMALL LETTER E WITH MACRON AND GRAVE */
            "\U03D2" = ("insertText:", "\U1E50"); /* Compose, GRAVE ACCENT, GREEK UPSILON WITH HOOK SYMBOL: LATIN CAPITAL LETTER O WITH MACRON AND GRAVE */
            "\U03F2" = ("insertText:", "\U1E51"); /* Compose, GRAVE ACCENT, GREEK LUNATE SIGMA SYMBOL: LATIN SMALL LETTER O WITH MACRON AND GRAVE */
            "\U06C1" = ("insertText:", "\U0430"); /* Compose, GRAVE ACCENT, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
            "\U06C5" = ("insertText:", "\U0450"); /* Compose, GRAVE ACCENT, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE WITH GRAVE */
            "\U06C9" = ("insertText:", "\U045D"); /* Compose, GRAVE ACCENT, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I WITH GRAVE */
            "\U06CF" = ("insertText:", "\U043E"); /* Compose, GRAVE ACCENT, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
            "\U06D2" = ("insertText:", "\U0440"); /* Compose, GRAVE ACCENT, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
            "\U06D5" = ("insertText:", "\U0443"); /* Compose, GRAVE ACCENT, ARABIC LETTER AE: CYRILLIC SMALL LETTER U */
            "\U06E1" = ("insertText:", "\U0410"); /* Compose, GRAVE ACCENT, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
            "\U06E5" = ("insertText:", "\U0400"); /* Compose, GRAVE ACCENT, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE WITH GRAVE */
            "\U06E9" = ("insertText:", "\U040D"); /* Compose, GRAVE ACCENT, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I WITH GRAVE */
            "\U06EF" = ("insertText:", "\U041E"); /* Compose, GRAVE ACCENT, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
            "\U06F2" = ("insertText:", "\U0420"); /* Compose, GRAVE ACCENT, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
            "\U06F5" = ("insertText:", "\U0423"); /* Compose, GRAVE ACCENT, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U */
            "\U07B5" = ("insertText:", "\U1FD2"); /* Compose, GRAVE ACCENT, unknown: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND VARIA */
            "\U07B9" = ("insertText:", "\U1FE2"); /* Compose, GRAVE ACCENT, unknown: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND VARIA */
            "\U07C1" = ("insertText:", "\U1FBA"); /* Compose, GRAVE ACCENT, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH VARIA */
            "\U07C5" = ("insertText:", "\U1FC8"); /* Compose, GRAVE ACCENT, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH VARIA */
            "\U07C7" = ("insertText:", "\U1FCA"); /* Compose, GRAVE ACCENT, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH VARIA */
            "\U07C9" = ("insertText:", "\U1FDA"); /* Compose, GRAVE ACCENT, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH VARIA */
            "\U07CF" = ("insertText:", "\U1FF8"); /* Compose, GRAVE ACCENT, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH VARIA */
            "\U07D5" = ("insertText:", "\U1FEA"); /* Compose, GRAVE ACCENT, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH VARIA */
            "\U07D9" = ("insertText:", "\U1FFA"); /* Compose, GRAVE ACCENT, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH VARIA */
            "\U07E1" = ("insertText:", "\U1F70"); /* Compose, GRAVE ACCENT, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH VARIA */
            "\U07E5" = ("insertText:", "\U1F72"); /* Compose, GRAVE ACCENT, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH VARIA */
            "\U07E7" = ("insertText:", "\U1F74"); /* Compose, GRAVE ACCENT, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH VARIA */
            "\U07E9" = ("insertText:", "\U1F76"); /* Compose, GRAVE ACCENT, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH VARIA */
            "\U07EF" = ("insertText:", "\U1F78"); /* Compose, GRAVE ACCENT, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH VARIA */
            "\U07F5" = ("insertText:", "\U1F7A"); /* Compose, GRAVE ACCENT, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH VARIA */
            "\U07F9" = ("insertText:", "\U1F7C"); /* Compose, GRAVE ACCENT, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH VARIA */
            "\U1F00" = ("insertText:", "\U1F02"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND VARIA */
            "\U1F01" = ("insertText:", "\U1F03"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND VARIA */
            "\U1F08" = ("insertText:", "\U1F0A"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND VARIA */
            "\U1F09" = ("insertText:", "\U1F0B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND VARIA */
            "\U1F10" = ("insertText:", "\U1F12"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER EPSILON WITH PSILI: GREEK SMALL LETTER EPSILON WITH PSILI AND VARIA */
            "\U1F11" = ("insertText:", "\U1F13"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER EPSILON WITH DASIA: GREEK SMALL LETTER EPSILON WITH DASIA AND VARIA */
            "\U1F18" = ("insertText:", "\U1F1A"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER EPSILON WITH PSILI: GREEK CAPITAL LETTER EPSILON WITH PSILI AND VARIA */
            "\U1F19" = ("insertText:", "\U1F1B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER EPSILON WITH DASIA: GREEK CAPITAL LETTER EPSILON WITH DASIA AND VARIA */
            "\U1F20" = ("insertText:", "\U1F22"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND VARIA */
            "\U1F21" = ("insertText:", "\U1F23"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND VARIA */
            "\U1F28" = ("insertText:", "\U1F2A"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND VARIA */
            "\U1F29" = ("insertText:", "\U1F2B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND VARIA */
            "\U1F30" = ("insertText:", "\U1F32"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER IOTA WITH PSILI: GREEK SMALL LETTER IOTA WITH PSILI AND VARIA */
            "\U1F31" = ("insertText:", "\U1F33"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER IOTA WITH DASIA: GREEK SMALL LETTER IOTA WITH DASIA AND VARIA */
            "\U1F38" = ("insertText:", "\U1F3A"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER IOTA WITH PSILI: GREEK CAPITAL LETTER IOTA WITH PSILI AND VARIA */
            "\U1F39" = ("insertText:", "\U1F3B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER IOTA WITH DASIA: GREEK CAPITAL LETTER IOTA WITH DASIA AND VARIA */
            "\U1F40" = ("insertText:", "\U1F42"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER OMICRON WITH PSILI: GREEK SMALL LETTER OMICRON WITH PSILI AND VARIA */
            "\U1F41" = ("insertText:", "\U1F43"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER OMICRON WITH DASIA: GREEK SMALL LETTER OMICRON WITH DASIA AND VARIA */
            "\U1F48" = ("insertText:", "\U1F4A"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER OMICRON WITH PSILI: GREEK CAPITAL LETTER OMICRON WITH PSILI AND VARIA */
            "\U1F49" = ("insertText:", "\U1F4B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER OMICRON WITH DASIA: GREEK CAPITAL LETTER OMICRON WITH DASIA AND VARIA */
            "\U1F50" = ("insertText:", "\U1F52"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER UPSILON WITH PSILI: GREEK SMALL LETTER UPSILON WITH PSILI AND VARIA */
            "\U1F51" = ("insertText:", "\U1F53"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER UPSILON WITH DASIA: GREEK SMALL LETTER UPSILON WITH DASIA AND VARIA */
            "\U1F59" = ("insertText:", "\U1F5B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER UPSILON WITH DASIA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND VARIA */
            "\U1F60" = ("insertText:", "\U1F62"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND VARIA */
            "\U1F61" = ("insertText:", "\U1F63"); /* Compose, GRAVE ACCENT, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND VARIA */
            "\U1F68" = ("insertText:", "\U1F6A"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND VARIA */
            "\U1F69" = ("insertText:", "\U1F6B"); /* Compose, GRAVE ACCENT, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND VARIA */
        };
        "\U0061" = {
            "\U0022" = ("insertText:", "\U00E4"); /* Compose, LATIN SMALL LETTER A, QUOTATION MARK: LATIN SMALL LETTER A WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00E1"); /* Compose, LATIN SMALL LETTER A, APOSTROPHE: LATIN SMALL LETTER A WITH ACUTE */
            "\U0028" = ("insertText:", "\U0103"); /* Compose, LATIN SMALL LETTER A, LEFT PARENTHESIS: LATIN SMALL LETTER A WITH BREVE */
            "\U002A" = ("insertText:", "\U00E5"); /* Compose, LATIN SMALL LETTER A, ASTERISK: LATIN SMALL LETTER A WITH RING ABOVE */
            "\U002C" = ("insertText:", "\U0105"); /* Compose, LATIN SMALL LETTER A, COMMA: LATIN SMALL LETTER A WITH OGONEK */
            "\U002D" = ("insertText:", "\U00E3"); /* Compose, LATIN SMALL LETTER A, HYPHEN-MINUS: LATIN SMALL LETTER A WITH TILDE */
            "\U003E" = ("insertText:", "\U00E2"); /* Compose, LATIN SMALL LETTER A, GREATER-THAN SIGN: LATIN SMALL LETTER A WITH CIRCUMFLEX */
            "\U005E" = ("insertText:", "\U00E2"); /* Compose, LATIN SMALL LETTER A, CIRCUMFLEX ACCENT: LATIN SMALL LETTER A WITH CIRCUMFLEX */
            "\U0060" = ("insertText:", "\U00E0"); /* Compose, LATIN SMALL LETTER A, GRAVE ACCENT: LATIN SMALL LETTER A WITH GRAVE */
            "\U0061" = ("insertText:", "\U00E5"); /* Compose, LATIN SMALL LETTER A, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH RING ABOVE */
            "\U0065" = ("insertText:", "\U00E6"); /* Compose, LATIN SMALL LETTER A, LATIN SMALL LETTER E: LATIN SMALL LETTER AE */
            "\U007E" = ("insertText:", "\U00E3"); /* Compose, LATIN SMALL LETTER A, TILDE: LATIN SMALL LETTER A WITH TILDE */
            "\U00A8" = ("insertText:", "\U00E4"); /* Compose, LATIN SMALL LETTER A, DIAERESIS: LATIN SMALL LETTER A WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00E1"); /* Compose, LATIN SMALL LETTER A, ACUTE ACCENT: LATIN SMALL LETTER A WITH ACUTE */
        };
        "\U0062" = {
            "\U0021" = {
                "\U0041" = ("insertText:", "\U1EB6"); /* Compose, LATIN SMALL LETTER B, EXCLAMATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND DOT BELOW */
                "\U0061" = ("insertText:", "\U1EB7"); /* Compose, LATIN SMALL LETTER B, EXCLAMATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND DOT BELOW */
            };
            "\U002C" = {
                "\U0045" = ("insertText:", "\U1E1C"); /* Compose, LATIN SMALL LETTER B, COMMA, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CEDILLA AND BREVE */
                "\U0065" = ("insertText:", "\U1E1D"); /* Compose, LATIN SMALL LETTER B, COMMA, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CEDILLA AND BREVE */
            };
            "\U002E" = ("insertText:", "\U1E03"); /* Compose, LATIN SMALL LETTER B, FULL STOP: LATIN SMALL LETTER B WITH DOT ABOVE */
            "\U0041" = ("insertText:", "\U0102"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE */
            "\U0045" = ("insertText:", "\U0114"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH BREVE */
            "\U0047" = ("insertText:", "\U011E"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH BREVE */
            "\U0049" = ("insertText:", "\U012C"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH BREVE */
            "\U004F" = ("insertText:", "\U014E"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH BREVE */
            "\U0055" = ("insertText:", "\U016C"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH BREVE */
            "\U0061" = ("insertText:", "\U0103"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE */
            "\U0065" = ("insertText:", "\U0115"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH BREVE */
            "\U0067" = ("insertText:", "\U011F"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH BREVE */
            "\U0069" = ("insertText:", "\U012D"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH BREVE */
            "\U006F" = ("insertText:", "\U014F"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH BREVE */
            "\U0075" = ("insertText:", "\U016D"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH BREVE */
            "\U00B8" = {
                "\U0045" = ("insertText:", "\U1E1C"); /* Compose, LATIN SMALL LETTER B, CEDILLA, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CEDILLA AND BREVE */
                "\U0065" = ("insertText:", "\U1E1D"); /* Compose, LATIN SMALL LETTER B, CEDILLA, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CEDILLA AND BREVE */
            };
            "\U0228" = ("insertText:", "\U1E1C"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER E WITH CEDILLA: LATIN CAPITAL LETTER E WITH CEDILLA AND BREVE */
            "\U0229" = ("insertText:", "\U1E1D"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER E WITH CEDILLA: LATIN SMALL LETTER E WITH CEDILLA AND BREVE */
            "\U06C1" = ("insertText:", "\U04D1"); /* Compose, LATIN SMALL LETTER B, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A WITH BREVE */
            "\U06C5" = ("insertText:", "\U04D7"); /* Compose, LATIN SMALL LETTER B, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE WITH BREVE */
            "\U06C9" = ("insertText:", "\U0439"); /* Compose, LATIN SMALL LETTER B, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER SHORT I */
            "\U06D5" = ("insertText:", "\U045E"); /* Compose, LATIN SMALL LETTER B, ARABIC LETTER AE: CYRILLIC SMALL LETTER SHORT U */
            "\U06D6" = ("insertText:", "\U04C2"); /* Compose, LATIN SMALL LETTER B, ARABIC SMALL HIGH LIGATURE SAD WITH LAM WITH ALEF MAKSURA: CYRILLIC SMALL LETTER ZHE WITH BREVE */
            "\U06E1" = ("insertText:", "\U04D0"); /* Compose, LATIN SMALL LETTER B, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A WITH BREVE */
            "\U06E5" = ("insertText:", "\U04D6"); /* Compose, LATIN SMALL LETTER B, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE WITH BREVE */
            "\U06E9" = ("insertText:", "\U0419"); /* Compose, LATIN SMALL LETTER B, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER SHORT I */
            "\U06F5" = ("insertText:", "\U040E"); /* Compose, LATIN SMALL LETTER B, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER SHORT U */
            "\U06F6" = ("insertText:", "\U04C1"); /* Compose, LATIN SMALL LETTER B, EXTENDED ARABIC-INDIC DIGIT SIX: CYRILLIC CAPITAL LETTER ZHE WITH BREVE */
            "\U07C1" = ("insertText:", "\U1FB8"); /* Compose, LATIN SMALL LETTER B, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH VRACHY */
            "\U07C9" = ("insertText:", "\U1FD8"); /* Compose, LATIN SMALL LETTER B, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH VRACHY */
            "\U07D5" = ("insertText:", "\U1FE8"); /* Compose, LATIN SMALL LETTER B, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH VRACHY */
            "\U07E1" = ("insertText:", "\U1FB0"); /* Compose, LATIN SMALL LETTER B, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH VRACHY */
            "\U07E9" = ("insertText:", "\U1FD0"); /* Compose, LATIN SMALL LETTER B, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH VRACHY */
            "\U07F5" = ("insertText:", "\U1FE0"); /* Compose, LATIN SMALL LETTER B, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH VRACHY */
            "\U1EA0" = ("insertText:", "\U1EB6"); /* Compose, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A WITH DOT BELOW: LATIN CAPITAL LETTER A WITH BREVE AND DOT BELOW */
            "\U1EA1" = ("insertText:", "\U1EB7"); /* Compose, LATIN SMALL LETTER B, LATIN SMALL LETTER A WITH DOT BELOW: LATIN SMALL LETTER A WITH BREVE AND DOT BELOW */
        };
        "\U0063" = {
            "\U0022" = {
                "\U0055" = ("insertText:", "\U01D9"); /* Compose, LATIN SMALL LETTER C, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS AND CARON */
                "\U0075" = ("insertText:", "\U01DA"); /* Compose, LATIN SMALL LETTER C, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS AND CARON */
            };
            "\U0027" = ("insertText:", "\U0107"); /* Compose, LATIN SMALL LETTER C, APOSTROPHE: LATIN SMALL LETTER C WITH ACUTE */
            "\U002C" = ("insertText:", "\U00E7"); /* Compose, LATIN SMALL LETTER C, COMMA: LATIN SMALL LETTER C WITH CEDILLA */
            "\U002E" = ("insertText:", "\U010B"); /* Compose, LATIN SMALL LETTER C, FULL STOP: LATIN SMALL LETTER C WITH DOT ABOVE */
            "\U002F" = ("insertText:", "\U00A2"); /* Compose, LATIN SMALL LETTER C, SOLIDUS: CENT SIGN */
            "\U003C" = ("insertText:", "\U010D"); /* Compose, LATIN SMALL LETTER C, LESS-THAN SIGN: LATIN SMALL LETTER C WITH CARON */
            "\U003D" = ("insertText:", "\U20AC"); /* Compose, LATIN SMALL LETTER C, EQUALS SIGN: EURO SIGN */
            "\U0041" = ("insertText:", "\U01CD"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CARON */
            "\U0043" = ("insertText:", "\U010C"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CARON */
            "\U0044" = ("insertText:", "\U010E"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH CARON */
            "\U0045" = ("insertText:", "\U011A"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CARON */
            "\U0047" = ("insertText:", "\U01E6"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH CARON */
            "\U0048" = ("insertText:", "\U021E"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH CARON */
            "\U0049" = ("insertText:", "\U01CF"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH CARON */
            "\U004B" = ("insertText:", "\U01E8"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER K: LATIN CAPITAL LETTER K WITH CARON */
            "\U004C" = ("insertText:", "\U013D"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH CARON */
            "\U004E" = ("insertText:", "\U0147"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH CARON */
            "\U004F" = ("insertText:", "\U01D1"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CARON */
            "\U0052" = ("insertText:", "\U0158"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH CARON */
            "\U0053" = ("insertText:", "\U0160"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH CARON */
            "\U0054" = ("insertText:", "\U0164"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH CARON */
            "\U0055" = ("insertText:", "\U01D3"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH CARON */
            "\U005A" = ("insertText:", "\U017D"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH CARON */
            "\U0061" = ("insertText:", "\U01CE"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CARON */
            "\U0063" = ("insertText:", "\U010D"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CARON */
            "\U0064" = ("insertText:", "\U010F"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH CARON */
            "\U0065" = ("insertText:", "\U011B"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CARON */
            "\U0067" = ("insertText:", "\U01E7"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH CARON */
            "\U0068" = ("insertText:", "\U021F"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH CARON */
            "\U0069" = ("insertText:", "\U01D0"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH CARON */
            "\U006A" = ("insertText:", "\U01F0"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER J: LATIN SMALL LETTER J WITH CARON */
            "\U006B" = ("insertText:", "\U01E9"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER K: LATIN SMALL LETTER K WITH CARON */
            "\U006C" = ("insertText:", "\U013E"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH CARON */
            "\U006E" = ("insertText:", "\U0148"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH CARON */
            "\U006F" = ("insertText:", "\U01D2"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CARON */
            "\U0072" = ("insertText:", "\U0159"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH CARON */
            "\U0073" = ("insertText:", "\U0161"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH CARON */
            "\U0074" = ("insertText:", "\U0165"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH CARON */
            "\U0075" = ("insertText:", "\U01D4"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH CARON */
            "\U007A" = ("insertText:", "\U017E"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH CARON */
            "\U007C" = ("insertText:", "\U00A2"); /* Compose, LATIN SMALL LETTER C, VERTICAL LINE: CENT SIGN */
            "\U00DC" = ("insertText:", "\U01D9"); /* Compose, LATIN SMALL LETTER C, LATIN CAPITAL LETTER U WITH DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS AND CARON */
            "\U00FC" = ("insertText:", "\U01DA"); /* Compose, LATIN SMALL LETTER C, LATIN SMALL LETTER U WITH DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS AND CARON */
        };
        "\U0064" = {
            "\U002C" = ("insertText:", "\U1E11"); /* Compose, LATIN SMALL LETTER D, COMMA: LATIN SMALL LETTER D WITH CEDILLA */
            "\U002D" = ("insertText:", "\U0111"); /* Compose, LATIN SMALL LETTER D, HYPHEN-MINUS: LATIN SMALL LETTER D WITH STROKE */
            "\U002E" = ("insertText:", "\U1E0B"); /* Compose, LATIN SMALL LETTER D, FULL STOP: LATIN SMALL LETTER D WITH DOT ABOVE */
            "\U003C" = ("insertText:", "\U010F"); /* Compose, LATIN SMALL LETTER D, LESS-THAN SIGN: LATIN SMALL LETTER D WITH CARON */
            "\U003D" = ("insertText:", "\U20AB"); /* Compose, LATIN SMALL LETTER D, EQUALS SIGN: DONG SIGN */
            "\U0068" = ("insertText:", "\U00F0"); /* Compose, LATIN SMALL LETTER D, LATIN SMALL LETTER H: LATIN SMALL LETTER ETH */
            "\U0069" = ("insertText:", "\U2300"); /* Compose, LATIN SMALL LETTER D, LATIN SMALL LETTER I: DIAMETER SIGN */
        };
        "\U0065" = {
            "\U0022" = ("insertText:", "\U00EB"); /* Compose, LATIN SMALL LETTER E, QUOTATION MARK: LATIN SMALL LETTER E WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00E9"); /* Compose, LATIN SMALL LETTER E, APOSTROPHE: LATIN SMALL LETTER E WITH ACUTE */
            "\U002C" = ("insertText:", "\U0119"); /* Compose, LATIN SMALL LETTER E, COMMA: LATIN SMALL LETTER E WITH OGONEK */
            "\U002D" = ("insertText:", "\U0113"); /* Compose, LATIN SMALL LETTER E, HYPHEN-MINUS: LATIN SMALL LETTER E WITH MACRON */
            "\U002E" = ("insertText:", "\U0117"); /* Compose, LATIN SMALL LETTER E, FULL STOP: LATIN SMALL LETTER E WITH DOT ABOVE */
            "\U003C" = ("insertText:", "\U011B"); /* Compose, LATIN SMALL LETTER E, LESS-THAN SIGN: LATIN SMALL LETTER E WITH CARON */
            "\U003D" = ("insertText:", "\U20AC"); /* Compose, LATIN SMALL LETTER E, EQUALS SIGN: EURO SIGN */
            "\U003E" = ("insertText:", "\U00EA"); /* Compose, LATIN SMALL LETTER E, GREATER-THAN SIGN: LATIN SMALL LETTER E WITH CIRCUMFLEX */
            "\U005E" = ("insertText:", "\U00EA"); /* Compose, LATIN SMALL LETTER E, CIRCUMFLEX ACCENT: LATIN SMALL LETTER E WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U0113"); /* Compose, LATIN SMALL LETTER E, LOW LINE: LATIN SMALL LETTER E WITH MACRON */
            "\U0060" = ("insertText:", "\U00E8"); /* Compose, LATIN SMALL LETTER E, GRAVE ACCENT: LATIN SMALL LETTER E WITH GRAVE */
            "\U0065" = ("insertText:", "\U0259"); /* Compose, LATIN SMALL LETTER E, LATIN SMALL LETTER E: LATIN SMALL LETTER SCHWA */
            "\U00A8" = ("insertText:", "\U00EB"); /* Compose, LATIN SMALL LETTER E, DIAERESIS: LATIN SMALL LETTER E WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00E9"); /* Compose, LATIN SMALL LETTER E, ACUTE ACCENT: LATIN SMALL LETTER E WITH ACUTE */
        };
        "\U0066" = {
            "\U002E" = ("insertText:", "\U1E1F"); /* Compose, LATIN SMALL LETTER F, FULL STOP: LATIN SMALL LETTER F WITH DOT ABOVE */
            "\U0053" = ("insertText:", "\U017F"); /* Compose, LATIN SMALL LETTER F, LATIN CAPITAL LETTER S: LATIN SMALL LETTER LONG S */
            "\U0066" = ("insertText:", "\UFB00"); /* Compose, LATIN SMALL LETTER F, LATIN SMALL LETTER F: LATIN SMALL LIGATURE FF */
            "\U0069" = ("insertText:", "\UFB01"); /* Compose, LATIN SMALL LETTER F, LATIN SMALL LETTER I: LATIN SMALL LIGATURE FI */
            "\U006C" = ("insertText:", "\UFB02"); /* Compose, LATIN SMALL LETTER F, LATIN SMALL LETTER L: LATIN SMALL LIGATURE FL */
            "\U0073" = ("insertText:", "\U017F"); /* Compose, LATIN SMALL LETTER F, LATIN SMALL LETTER S: LATIN SMALL LETTER LONG S */
        };
        "\U0067" = {
            "\U0028" = ("insertText:", "\U011F"); /* Compose, LATIN SMALL LETTER G, LEFT PARENTHESIS: LATIN SMALL LETTER G WITH BREVE */
            "\U002C" = ("insertText:", "\U0123"); /* Compose, LATIN SMALL LETTER G, COMMA: LATIN SMALL LETTER G WITH CEDILLA */
            "\U002E" = ("insertText:", "\U0121"); /* Compose, LATIN SMALL LETTER G, FULL STOP: LATIN SMALL LETTER G WITH DOT ABOVE */
            "\U0055" = ("insertText:", "\U011F"); /* Compose, LATIN SMALL LETTER G, LATIN CAPITAL LETTER U: LATIN SMALL LETTER G WITH BREVE */
            "\U01A2" = ("insertText:", "\U011F"); /* Compose, LATIN SMALL LETTER G, LATIN CAPITAL LETTER GHA: LATIN SMALL LETTER G WITH BREVE */
        };
        "\U0068" = {
            "\U002C" = ("insertText:", "\U1E29"); /* Compose, LATIN SMALL LETTER H, COMMA: LATIN SMALL LETTER H WITH CEDILLA */
        };
        "\U0069" = {
            "\U0022" = ("insertText:", "\U00EF"); /* Compose, LATIN SMALL LETTER I, QUOTATION MARK: LATIN SMALL LETTER I WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00ED"); /* Compose, LATIN SMALL LETTER I, APOSTROPHE: LATIN SMALL LETTER I WITH ACUTE */
            "\U002C" = ("insertText:", "\U012F"); /* Compose, LATIN SMALL LETTER I, COMMA: LATIN SMALL LETTER I WITH OGONEK */
            "\U002D" = ("insertText:", "\U012B"); /* Compose, LATIN SMALL LETTER I, HYPHEN-MINUS: LATIN SMALL LETTER I WITH MACRON */
            "\U002E" = ("insertText:", "\U0131"); /* Compose, LATIN SMALL LETTER I, FULL STOP: LATIN SMALL LETTER DOTLESS I */
            "\U003B" = ("insertText:", "\U012F"); /* Compose, LATIN SMALL LETTER I, SEMICOLON: LATIN SMALL LETTER I WITH OGONEK */
            "\U003E" = ("insertText:", "\U00EE"); /* Compose, LATIN SMALL LETTER I, GREATER-THAN SIGN: LATIN SMALL LETTER I WITH CIRCUMFLEX */
            "\U005E" = ("insertText:", "\U00EE"); /* Compose, LATIN SMALL LETTER I, CIRCUMFLEX ACCENT: LATIN SMALL LETTER I WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U012B"); /* Compose, LATIN SMALL LETTER I, LOW LINE: LATIN SMALL LETTER I WITH MACRON */
            "\U0060" = ("insertText:", "\U00EC"); /* Compose, LATIN SMALL LETTER I, GRAVE ACCENT: LATIN SMALL LETTER I WITH GRAVE */
            "\U006A" = ("insertText:", "\U0133"); /* Compose, LATIN SMALL LETTER I, LATIN SMALL LETTER J: LATIN SMALL LIGATURE IJ */
            "\U007E" = ("insertText:", "\U0129"); /* Compose, LATIN SMALL LETTER I, TILDE: LATIN SMALL LETTER I WITH TILDE */
            "\U00A8" = ("insertText:", "\U00EF"); /* Compose, LATIN SMALL LETTER I, DIAERESIS: LATIN SMALL LETTER I WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00ED"); /* Compose, LATIN SMALL LETTER I, ACUTE ACCENT: LATIN SMALL LETTER I WITH ACUTE */
        };
        "\U006B" = {
            "\U002C" = ("insertText:", "\U0137"); /* Compose, LATIN SMALL LETTER K, COMMA: LATIN SMALL LETTER K WITH CEDILLA */
            "\U006B" = ("insertText:", "\U0138"); /* Compose, LATIN SMALL LETTER K, LATIN SMALL LETTER K: LATIN SMALL LETTER KRA */
        };
        "\U006C" = {
            "\U0027" = ("insertText:", "\U013A"); /* Compose, LATIN SMALL LETTER L, APOSTROPHE: LATIN SMALL LETTER L WITH ACUTE */
            "\U002C" = ("insertText:", "\U013C"); /* Compose, LATIN SMALL LETTER L, COMMA: LATIN SMALL LETTER L WITH CEDILLA */
            "\U002D" = ("insertText:", "\U00A3"); /* Compose, LATIN SMALL LETTER L, HYPHEN-MINUS: POUND SIGN */
            "\U002F" = ("insertText:", "\U0142"); /* Compose, LATIN SMALL LETTER L, SOLIDUS: LATIN SMALL LETTER L WITH STROKE */
            "\U003C" = ("insertText:", "\U013E"); /* Compose, LATIN SMALL LETTER L, LESS-THAN SIGN: LATIN SMALL LETTER L WITH CARON */
            "\U0076" = ("insertText:", "\U007C"); /* Compose, LATIN SMALL LETTER L, LATIN SMALL LETTER V: VERTICAL LINE */
        };
        "\U006D" = {
            "\U002E" = ("insertText:", "\U1E41"); /* Compose, LATIN SMALL LETTER M, FULL STOP: LATIN SMALL LETTER M WITH DOT ABOVE */
            "\U002F" = ("insertText:", "\U20A5"); /* Compose, LATIN SMALL LETTER M, SOLIDUS: MILL SIGN */
            "\U0075" = ("insertText:", "\U00B5"); /* Compose, LATIN SMALL LETTER M, LATIN SMALL LETTER U: MICRO SIGN */
        };
        "\U006E" = {
            "\U0027" = ("insertText:", "\U0144"); /* Compose, LATIN SMALL LETTER N, APOSTROPHE: LATIN SMALL LETTER N WITH ACUTE */
            "\U002C" = ("insertText:", "\U0146"); /* Compose, LATIN SMALL LETTER N, COMMA: LATIN SMALL LETTER N WITH CEDILLA */
            "\U002D" = ("insertText:", "\U00F1"); /* Compose, LATIN SMALL LETTER N, HYPHEN-MINUS: LATIN SMALL LETTER N WITH TILDE */
            "\U003C" = ("insertText:", "\U0148"); /* Compose, LATIN SMALL LETTER N, LESS-THAN SIGN: LATIN SMALL LETTER N WITH CARON */
            "\U0067" = ("insertText:", "\U014B"); /* Compose, LATIN SMALL LETTER N, LATIN SMALL LETTER G: LATIN SMALL LETTER ENG */
            "\U007E" = ("insertText:", "\U00F1"); /* Compose, LATIN SMALL LETTER N, TILDE: LATIN SMALL LETTER N WITH TILDE */
        };
        "\U006F" = {
            "\U0022" = ("insertText:", "\U00F6"); /* Compose, LATIN SMALL LETTER O, QUOTATION MARK: LATIN SMALL LETTER O WITH DIAERESIS */
            "\U0027" = {
                "\U0041" = ("insertText:", "\U01FA"); /* Compose, LATIN SMALL LETTER O, APOSTROPHE, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH RING ABOVE AND ACUTE */
                "\U0061" = ("insertText:", "\U01FB"); /* Compose, LATIN SMALL LETTER O, APOSTROPHE, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH RING ABOVE AND ACUTE */
            };
            "\U002D" = ("insertText:", "\U00F5"); /* Compose, LATIN SMALL LETTER O, HYPHEN-MINUS: LATIN SMALL LETTER O WITH TILDE */
            "\U002F" = ("insertText:", "\U00F8"); /* Compose, LATIN SMALL LETTER O, SOLIDUS: LATIN SMALL LETTER O WITH STROKE */
            "\U003E" = ("insertText:", "\U00F4"); /* Compose, LATIN SMALL LETTER O, GREATER-THAN SIGN: LATIN SMALL LETTER O WITH CIRCUMFLEX */
            "\U0041" = ("insertText:", "\U00C5"); /* Compose, LATIN SMALL LETTER O, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH RING ABOVE */
            "\U0043" = ("insertText:", "\U00A9"); /* Compose, LATIN SMALL LETTER O, LATIN CAPITAL LETTER C: COPYRIGHT SIGN */
            "\U0052" = ("insertText:", "\U00AE"); /* Compose, LATIN SMALL LETTER O, LATIN CAPITAL LETTER R: REGISTERED SIGN */
            "\U0055" = ("insertText:", "\U016E"); /* Compose, LATIN SMALL LETTER O, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH RING ABOVE */
            "\U0058" = ("insertText:", "\U00A4"); /* Compose, LATIN SMALL LETTER O, LATIN CAPITAL LETTER X: CURRENCY SIGN */
            "\U005E" = ("insertText:", "\U00F4"); /* Compose, LATIN SMALL LETTER O, CIRCUMFLEX ACCENT: LATIN SMALL LETTER O WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U014D"); /* Compose, LATIN SMALL LETTER O, LOW LINE: LATIN SMALL LETTER O WITH MACRON */
            "\U0060" = ("insertText:", "\U00F2"); /* Compose, LATIN SMALL LETTER O, GRAVE ACCENT: LATIN SMALL LETTER O WITH GRAVE */
            "\U0061" = ("insertText:", "\U00E5"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH RING ABOVE */
            "\U0063" = ("insertText:", "\U00A9"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER C: COPYRIGHT SIGN */
            "\U0065" = ("insertText:", "\U0153"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER E: LATIN SMALL LIGATURE OE */
            "\U006F" = ("insertText:", "\U00B0"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER O: DEGREE SIGN */
            "\U0072" = ("insertText:", "\U00AE"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER R: REGISTERED SIGN */
            "\U0073" = ("insertText:", "\U00A7"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER S: SECTION SIGN */
            "\U0075" = ("insertText:", "\U016F"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH RING ABOVE */
            "\U0077" = ("insertText:", "\U1E98"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH RING ABOVE */
            "\U0078" = ("insertText:", "\U00A4"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER X: CURRENCY SIGN */
            "\U0079" = ("insertText:", "\U1E99"); /* Compose, LATIN SMALL LETTER O, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH RING ABOVE */
            "\U007E" = ("insertText:", "\U00F5"); /* Compose, LATIN SMALL LETTER O, TILDE: LATIN SMALL LETTER O WITH TILDE */
            "\U00A8" = ("insertText:", "\U00F6"); /* Compose, LATIN SMALL LETTER O, DIAERESIS: LATIN SMALL LETTER O WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00F3"); /* Compose, LATIN SMALL LETTER O, ACUTE ACCENT: LATIN SMALL LETTER O WITH ACUTE */
        };
        "\U0070" = {
            "\U0021" = ("insertText:", "\U00B6"); /* Compose, LATIN SMALL LETTER P, EXCLAMATION MARK: PILCROW SIGN */
            "\U002E" = ("insertText:", "\U1E57"); /* Compose, LATIN SMALL LETTER P, FULL STOP: LATIN SMALL LETTER P WITH DOT ABOVE */
        };
        "\U0072" = {
            "\U0027" = ("insertText:", "\U0155"); /* Compose, LATIN SMALL LETTER R, APOSTROPHE: LATIN SMALL LETTER R WITH ACUTE */
            "\U002C" = ("insertText:", "\U0157"); /* Compose, LATIN SMALL LETTER R, COMMA: LATIN SMALL LETTER R WITH CEDILLA */
            "\U003C" = ("insertText:", "\U0159"); /* Compose, LATIN SMALL LETTER R, LESS-THAN SIGN: LATIN SMALL LETTER R WITH CARON */
        };
        "\U0073" = {
            "\U0021" = ("insertText:", "\U00A7"); /* Compose, LATIN SMALL LETTER S, EXCLAMATION MARK: SECTION SIGN */
            "\U0027" = ("insertText:", "\U015B"); /* Compose, LATIN SMALL LETTER S, APOSTROPHE: LATIN SMALL LETTER S WITH ACUTE */
            "\U002C" = ("insertText:", "\U015F"); /* Compose, LATIN SMALL LETTER S, COMMA: LATIN SMALL LETTER S WITH CEDILLA */
            "\U002E" = ("insertText:", "\U1E61"); /* Compose, LATIN SMALL LETTER S, FULL STOP: LATIN SMALL LETTER S WITH DOT ABOVE */
            "\U0031" = ("insertText:", "\U00B9"); /* Compose, LATIN SMALL LETTER S, DIGIT ONE: SUPERSCRIPT ONE */
            "\U0032" = ("insertText:", "\U00B2"); /* Compose, LATIN SMALL LETTER S, DIGIT TWO: SUPERSCRIPT TWO */
            "\U0033" = ("insertText:", "\U00B3"); /* Compose, LATIN SMALL LETTER S, DIGIT THREE: SUPERSCRIPT THREE */
            "\U003C" = ("insertText:", "\U0161"); /* Compose, LATIN SMALL LETTER S, LESS-THAN SIGN: LATIN SMALL LETTER S WITH CARON */
            "\U004D" = ("insertText:", "\U2120"); /* Compose, LATIN SMALL LETTER S, LATIN CAPITAL LETTER M: SERVICE MARK */
            "\U006D" = ("insertText:", "\U2120"); /* Compose, LATIN SMALL LETTER S, LATIN SMALL LETTER M: SERVICE MARK */
            "\U006F" = ("insertText:", "\U00A7"); /* Compose, LATIN SMALL LETTER S, LATIN SMALL LETTER O: SECTION SIGN */
            "\U0073" = ("insertText:", "\U00DF"); /* Compose, LATIN SMALL LETTER S, LATIN SMALL LETTER S: LATIN SMALL LETTER SHARP S */
            "\U00B8" = ("insertText:", "\U015F"); /* Compose, LATIN SMALL LETTER S, CEDILLA: LATIN SMALL LETTER S WITH CEDILLA */
        };
        "\U0074" = {
            "\U002C" = ("insertText:", "\U0163"); /* Compose, LATIN SMALL LETTER T, COMMA: LATIN SMALL LETTER T WITH CEDILLA */
            "\U002D" = ("insertText:", "\U0167"); /* Compose, LATIN SMALL LETTER T, HYPHEN-MINUS: LATIN SMALL LETTER T WITH STROKE */
            "\U002E" = ("insertText:", "\U1E6B"); /* Compose, LATIN SMALL LETTER T, FULL STOP: LATIN SMALL LETTER T WITH DOT ABOVE */
            "\U002F" = ("insertText:", "\U0167"); /* Compose, LATIN SMALL LETTER T, SOLIDUS: LATIN SMALL LETTER T WITH STROKE */
            "\U003C" = ("insertText:", "\U0165"); /* Compose, LATIN SMALL LETTER T, LESS-THAN SIGN: LATIN SMALL LETTER T WITH CARON */
            "\U004D" = ("insertText:", "\U2122"); /* Compose, LATIN SMALL LETTER T, LATIN CAPITAL LETTER M: TRADE MARK SIGN */
            "\U0068" = ("insertText:", "\U00FE"); /* Compose, LATIN SMALL LETTER T, LATIN SMALL LETTER H: LATIN SMALL LETTER THORN */
            "\U006D" = ("insertText:", "\U2122"); /* Compose, LATIN SMALL LETTER T, LATIN SMALL LETTER M: TRADE MARK SIGN */
        };
        "\U0075" = {
            "\U0022" = ("insertText:", "\U00FC"); /* Compose, LATIN SMALL LETTER U, QUOTATION MARK: LATIN SMALL LETTER U WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00FA"); /* Compose, LATIN SMALL LETTER U, APOSTROPHE: LATIN SMALL LETTER U WITH ACUTE */
            "\U002A" = ("insertText:", "\U016F"); /* Compose, LATIN SMALL LETTER U, ASTERISK: LATIN SMALL LETTER U WITH RING ABOVE */
            "\U002C" = ("insertText:", "\U0173"); /* Compose, LATIN SMALL LETTER U, COMMA: LATIN SMALL LETTER U WITH OGONEK */
            "\U002D" = ("insertText:", "\U016B"); /* Compose, LATIN SMALL LETTER U, HYPHEN-MINUS: LATIN SMALL LETTER U WITH MACRON */
            "\U002F" = ("insertText:", "\U00B5"); /* Compose, LATIN SMALL LETTER U, SOLIDUS: MICRO SIGN */
            "\U003E" = ("insertText:", "\U00FB"); /* Compose, LATIN SMALL LETTER U, GREATER-THAN SIGN: LATIN SMALL LETTER U WITH CIRCUMFLEX */
            "\U005E" = ("insertText:", "\U00FB"); /* Compose, LATIN SMALL LETTER U, CIRCUMFLEX ACCENT: LATIN SMALL LETTER U WITH CIRCUMFLEX */
            "\U005F" = ("insertText:", "\U016B"); /* Compose, LATIN SMALL LETTER U, LOW LINE: LATIN SMALL LETTER U WITH MACRON */
            "\U0060" = ("insertText:", "\U00F9"); /* Compose, LATIN SMALL LETTER U, GRAVE ACCENT: LATIN SMALL LETTER U WITH GRAVE */
            "\U0075" = ("insertText:", "\U016D"); /* Compose, LATIN SMALL LETTER U, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH BREVE */
            "\U007E" = ("insertText:", "\U0169"); /* Compose, LATIN SMALL LETTER U, TILDE: LATIN SMALL LETTER U WITH TILDE */
            "\U00A8" = ("insertText:", "\U00FC"); /* Compose, LATIN SMALL LETTER U, DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00FA"); /* Compose, LATIN SMALL LETTER U, ACUTE ACCENT: LATIN SMALL LETTER U WITH ACUTE */
        };
        "\U0076" = {
            "\U005A" = ("insertText:", "\U017D"); /* Compose, LATIN SMALL LETTER V, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH CARON */
            "\U006C" = ("insertText:", "\U007C"); /* Compose, LATIN SMALL LETTER V, LATIN SMALL LETTER L: VERTICAL LINE */
            "\U007A" = ("insertText:", "\U017E"); /* Compose, LATIN SMALL LETTER V, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH CARON */
        };
        "\U0077" = {
            "\U005E" = ("insertText:", "\U0175"); /* Compose, LATIN SMALL LETTER W, CIRCUMFLEX ACCENT: LATIN SMALL LETTER W WITH CIRCUMFLEX */
        };
        "\U0078" = {
            "\U004F" = ("insertText:", "\U00A4"); /* Compose, LATIN SMALL LETTER X, LATIN CAPITAL LETTER O: CURRENCY SIGN */
            "\U006F" = ("insertText:", "\U00A4"); /* Compose, LATIN SMALL LETTER X, LATIN SMALL LETTER O: CURRENCY SIGN */
            "\U0078" = ("insertText:", "\U00D7"); /* Compose, LATIN SMALL LETTER X, LATIN SMALL LETTER X: MULTIPLICATION SIGN */
        };
        "\U0079" = {
            "\U0022" = ("insertText:", "\U00FF"); /* Compose, LATIN SMALL LETTER Y, QUOTATION MARK: LATIN SMALL LETTER Y WITH DIAERESIS */
            "\U0027" = ("insertText:", "\U00FD"); /* Compose, LATIN SMALL LETTER Y, APOSTROPHE: LATIN SMALL LETTER Y WITH ACUTE */
            "\U002D" = ("insertText:", "\U00A5"); /* Compose, LATIN SMALL LETTER Y, HYPHEN-MINUS: YEN SIGN */
            "\U003D" = ("insertText:", "\U00A5"); /* Compose, LATIN SMALL LETTER Y, EQUALS SIGN: YEN SIGN */
            "\U005E" = ("insertText:", "\U0177"); /* Compose, LATIN SMALL LETTER Y, CIRCUMFLEX ACCENT: LATIN SMALL LETTER Y WITH CIRCUMFLEX */
            "\U00A8" = ("insertText:", "\U00FF"); /* Compose, LATIN SMALL LETTER Y, DIAERESIS: LATIN SMALL LETTER Y WITH DIAERESIS */
            "\U00B4" = ("insertText:", "\U00FD"); /* Compose, LATIN SMALL LETTER Y, ACUTE ACCENT: LATIN SMALL LETTER Y WITH ACUTE */
        };
        "\U007A" = {
            "\U0027" = ("insertText:", "\U017A"); /* Compose, LATIN SMALL LETTER Z, APOSTROPHE: LATIN SMALL LETTER Z WITH ACUTE */
            "\U002E" = ("insertText:", "\U017C"); /* Compose, LATIN SMALL LETTER Z, FULL STOP: LATIN SMALL LETTER Z WITH DOT ABOVE */
            "\U003C" = ("insertText:", "\U017E"); /* Compose, LATIN SMALL LETTER Z, LESS-THAN SIGN: LATIN SMALL LETTER Z WITH CARON */
        };
        "\U007B" = {
            "\U007D" = ("insertText:", "\U2205"); /* Compose, LEFT CURLY BRACKET, RIGHT CURLY BRACKET: EMPTY SET */
        };
        "\U007C" = {
            "\U0043" = ("insertText:", "\U00A2"); /* Compose, VERTICAL LINE, LATIN CAPITAL LETTER C: CENT SIGN */
            "\U0063" = ("insertText:", "\U00A2"); /* Compose, VERTICAL LINE, LATIN SMALL LETTER C: CENT SIGN */
        };
        "\U007E" = {
            "\U0020" = ("insertText:", "\U007E"); /* Compose, TILDE, SPACE: TILDE */
            "\U0022" = {
                "\U07E9" = ("insertText:", "\U1FD7"); /* Compose, TILDE, QUOTATION MARK, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND PERISPOMENI */
                "\U07F5" = ("insertText:", "\U1FE7"); /* Compose, TILDE, QUOTATION MARK, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND PERISPOMENI */
            };
            "\U0028" = {
                "\U07C1" = ("insertText:", "\U1F0F"); /* Compose, TILDE, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PERISPOMENI */
                "\U07C7" = ("insertText:", "\U1F2F"); /* Compose, TILDE, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND PERISPOMENI */
                "\U07C9" = ("insertText:", "\U1F3F"); /* Compose, TILDE, LEFT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH DASIA AND PERISPOMENI */
                "\U07D5" = ("insertText:", "\U1F5F"); /* Compose, TILDE, LEFT PARENTHESIS, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND PERISPOMENI */
                "\U07D9" = ("insertText:", "\U1F6F"); /* Compose, TILDE, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PERISPOMENI */
                "\U07E1" = ("insertText:", "\U1F07"); /* Compose, TILDE, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND PERISPOMENI */
                "\U07E7" = ("insertText:", "\U1F27"); /* Compose, TILDE, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND PERISPOMENI */
                "\U07E9" = ("insertText:", "\U1F37"); /* Compose, TILDE, LEFT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DASIA AND PERISPOMENI */
                "\U07F5" = ("insertText:", "\U1F57"); /* Compose, TILDE, LEFT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DASIA AND PERISPOMENI */
                "\U07F9" = ("insertText:", "\U1F67"); /* Compose, TILDE, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND PERISPOMENI */
            };
            "\U0029" = {
                "\U07C1" = ("insertText:", "\U1F0E"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PERISPOMENI */
                "\U07C7" = ("insertText:", "\U1F2E"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND PERISPOMENI */
                "\U07C9" = ("insertText:", "\U1F3E"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH PSILI AND PERISPOMENI */
                "\U07D9" = ("insertText:", "\U1F6E"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PERISPOMENI */
                "\U07E1" = ("insertText:", "\U1F06"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND PERISPOMENI */
                "\U07E7" = ("insertText:", "\U1F26"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND PERISPOMENI */
                "\U07E9" = ("insertText:", "\U1F36"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH PSILI AND PERISPOMENI */
                "\U07F5" = ("insertText:", "\U1F56"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH PSILI AND PERISPOMENI */
                "\U07F9" = ("insertText:", "\U1F66"); /* Compose, TILDE, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND PERISPOMENI */
            };
            "\U002B" = {
                "\U004F" = ("insertText:", "\U1EE0"); /* Compose, TILDE, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN AND TILDE */
                "\U0055" = ("insertText:", "\U1EEE"); /* Compose, TILDE, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN AND TILDE */
                "\U006F" = ("insertText:", "\U1EE1"); /* Compose, TILDE, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN AND TILDE */
                "\U0075" = ("insertText:", "\U1EEF"); /* Compose, TILDE, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN AND TILDE */
            };
            "\U0041" = ("insertText:", "\U00C3"); /* Compose, TILDE, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH TILDE */
            "\U0045" = ("insertText:", "\U1EBC"); /* Compose, TILDE, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH TILDE */
            "\U0049" = ("insertText:", "\U0128"); /* Compose, TILDE, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH TILDE */
            "\U004E" = ("insertText:", "\U00D1"); /* Compose, TILDE, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH TILDE */
            "\U004F" = ("insertText:", "\U00D5"); /* Compose, TILDE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE */
            "\U0055" = ("insertText:", "\U0168"); /* Compose, TILDE, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH TILDE */
            "\U0056" = ("insertText:", "\U1E7C"); /* Compose, TILDE, LATIN CAPITAL LETTER V: LATIN CAPITAL LETTER V WITH TILDE */
            "\U0059" = ("insertText:", "\U1EF8"); /* Compose, TILDE, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH TILDE */
            "\U005E" = {
                "\U0041" = ("insertText:", "\U1EAA"); /* Compose, TILDE, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND TILDE */
                "\U0045" = ("insertText:", "\U1EC4"); /* Compose, TILDE, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND TILDE */
                "\U004F" = ("insertText:", "\U1ED6"); /* Compose, TILDE, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND TILDE */
                "\U0061" = ("insertText:", "\U1EAB"); /* Compose, TILDE, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX AND TILDE */
                "\U0065" = ("insertText:", "\U1EC5"); /* Compose, TILDE, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX AND TILDE */
                "\U006F" = ("insertText:", "\U1ED7"); /* Compose, TILDE, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX AND TILDE */
            };
            "\U0061" = ("insertText:", "\U00E3"); /* Compose, TILDE, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH TILDE */
            "\U0062" = {
                "\U0041" = ("insertText:", "\U1EB4"); /* Compose, TILDE, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND TILDE */
                "\U0061" = ("insertText:", "\U1EB5"); /* Compose, TILDE, LATIN SMALL LETTER B, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND TILDE */
            };
            "\U0065" = ("insertText:", "\U1EBD"); /* Compose, TILDE, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH TILDE */
            "\U0069" = ("insertText:", "\U0129"); /* Compose, TILDE, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH TILDE */
            "\U006E" = ("insertText:", "\U00F1"); /* Compose, TILDE, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH TILDE */
            "\U006F" = ("insertText:", "\U00F5"); /* Compose, TILDE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE */
            "\U0075" = ("insertText:", "\U0169"); /* Compose, TILDE, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH TILDE */
            "\U0076" = ("insertText:", "\U1E7D"); /* Compose, TILDE, LATIN SMALL LETTER V: LATIN SMALL LETTER V WITH TILDE */
            "\U0079" = ("insertText:", "\U1EF9"); /* Compose, TILDE, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH TILDE */
            "\U00C2" = ("insertText:", "\U1EAA"); /* Compose, TILDE, LATIN CAPITAL LETTER A WITH CIRCUMFLEX: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND TILDE */
            "\U00CA" = ("insertText:", "\U1EC4"); /* Compose, TILDE, LATIN CAPITAL LETTER E WITH CIRCUMFLEX: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND TILDE */
            "\U00D4" = ("insertText:", "\U1ED6"); /* Compose, TILDE, LATIN CAPITAL LETTER O WITH CIRCUMFLEX: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND TILDE */
            "\U00E2" = ("insertText:", "\U1EAB"); /* Compose, TILDE, LATIN SMALL LETTER A WITH CIRCUMFLEX: LATIN SMALL LETTER A WITH CIRCUMFLEX AND TILDE */
            "\U00EA" = ("insertText:", "\U1EC5"); /* Compose, TILDE, LATIN SMALL LETTER E WITH CIRCUMFLEX: LATIN SMALL LETTER E WITH CIRCUMFLEX AND TILDE */
            "\U00F4" = ("insertText:", "\U1ED7"); /* Compose, TILDE, LATIN SMALL LETTER O WITH CIRCUMFLEX: LATIN SMALL LETTER O WITH CIRCUMFLEX AND TILDE */
            "\U01C3" = ("insertText:", "\U1EB4"); /* Compose, TILDE, LATIN LETTER RETROFLEX CLICK: LATIN CAPITAL LETTER A WITH BREVE AND TILDE */
            "\U01E3" = ("insertText:", "\U1EB5"); /* Compose, TILDE, LATIN SMALL LETTER AE WITH MACRON: LATIN SMALL LETTER A WITH BREVE AND TILDE */
            "\U07B5" = ("insertText:", "\U1FD7"); /* Compose, TILDE, unknown: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND PERISPOMENI */
            "\U07B9" = ("insertText:", "\U1FE7"); /* Compose, TILDE, unknown: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND PERISPOMENI */
            "\U07E1" = ("insertText:", "\U1FB6"); /* Compose, TILDE, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PERISPOMENI */
            "\U07E7" = ("insertText:", "\U1FC6"); /* Compose, TILDE, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PERISPOMENI */
            "\U07E9" = ("insertText:", "\U1FD6"); /* Compose, TILDE, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH PERISPOMENI */
            "\U07F5" = ("insertText:", "\U1FE6"); /* Compose, TILDE, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH PERISPOMENI */
            "\U07F9" = ("insertText:", "\U1FF6"); /* Compose, TILDE, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PERISPOMENI */
            "\U1F00" = ("insertText:", "\U1F06"); /* Compose, TILDE, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND PERISPOMENI */
            "\U1F01" = ("insertText:", "\U1F07"); /* Compose, TILDE, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND PERISPOMENI */
            "\U1F08" = ("insertText:", "\U1F0E"); /* Compose, TILDE, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PERISPOMENI */
            "\U1F09" = ("insertText:", "\U1F0F"); /* Compose, TILDE, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PERISPOMENI */
            "\U1F20" = ("insertText:", "\U1F26"); /* Compose, TILDE, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND PERISPOMENI */
            "\U1F21" = ("insertText:", "\U1F27"); /* Compose, TILDE, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND PERISPOMENI */
            "\U1F28" = ("insertText:", "\U1F2E"); /* Compose, TILDE, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND PERISPOMENI */
            "\U1F29" = ("insertText:", "\U1F2F"); /* Compose, TILDE, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND PERISPOMENI */
            "\U1F30" = ("insertText:", "\U1F36"); /* Compose, TILDE, GREEK SMALL LETTER IOTA WITH PSILI: GREEK SMALL LETTER IOTA WITH PSILI AND PERISPOMENI */
            "\U1F31" = ("insertText:", "\U1F37"); /* Compose, TILDE, GREEK SMALL LETTER IOTA WITH DASIA: GREEK SMALL LETTER IOTA WITH DASIA AND PERISPOMENI */
            "\U1F38" = ("insertText:", "\U1F3E"); /* Compose, TILDE, GREEK CAPITAL LETTER IOTA WITH PSILI: GREEK CAPITAL LETTER IOTA WITH PSILI AND PERISPOMENI */
            "\U1F39" = ("insertText:", "\U1F3F"); /* Compose, TILDE, GREEK CAPITAL LETTER IOTA WITH DASIA: GREEK CAPITAL LETTER IOTA WITH DASIA AND PERISPOMENI */
            "\U1F50" = ("insertText:", "\U1F56"); /* Compose, TILDE, GREEK SMALL LETTER UPSILON WITH PSILI: GREEK SMALL LETTER UPSILON WITH PSILI AND PERISPOMENI */
            "\U1F51" = ("insertText:", "\U1F57"); /* Compose, TILDE, GREEK SMALL LETTER UPSILON WITH DASIA: GREEK SMALL LETTER UPSILON WITH DASIA AND PERISPOMENI */
            "\U1F59" = ("insertText:", "\U1F5F"); /* Compose, TILDE, GREEK CAPITAL LETTER UPSILON WITH DASIA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND PERISPOMENI */
            "\U1F60" = ("insertText:", "\U1F66"); /* Compose, TILDE, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND PERISPOMENI */
            "\U1F61" = ("insertText:", "\U1F67"); /* Compose, TILDE, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND PERISPOMENI */
            "\U1F68" = ("insertText:", "\U1F6E"); /* Compose, TILDE, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PERISPOMENI */
            "\U1F69" = ("insertText:", "\U1F6F"); /* Compose, TILDE, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PERISPOMENI */
        };
        "\U00A8" = {
            "\U0027" = ("insertText:", "\U0385"); /* Compose, DIAERESIS, APOSTROPHE: GREEK DIALYTIKA TONOS */
            "\U0041" = ("insertText:", "\U00C4"); /* Compose, DIAERESIS, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DIAERESIS */
            "\U0045" = ("insertText:", "\U00CB"); /* Compose, DIAERESIS, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH DIAERESIS */
            "\U0049" = ("insertText:", "\U00CF"); /* Compose, DIAERESIS, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH DIAERESIS */
            "\U004F" = ("insertText:", "\U00D6"); /* Compose, DIAERESIS, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DIAERESIS */
            "\U0055" = ("insertText:", "\U00DC"); /* Compose, DIAERESIS, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS */
            "\U0059" = ("insertText:", "\U0178"); /* Compose, DIAERESIS, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH DIAERESIS */
            "\U0060" = ("insertText:", "\U1FED"); /* Compose, DIAERESIS, GRAVE ACCENT: GREEK DIALYTIKA AND VARIA */
            "\U0061" = ("insertText:", "\U00E4"); /* Compose, DIAERESIS, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DIAERESIS */
            "\U0065" = ("insertText:", "\U00EB"); /* Compose, DIAERESIS, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH DIAERESIS */
            "\U0069" = ("insertText:", "\U00EF"); /* Compose, DIAERESIS, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH DIAERESIS */
            "\U006F" = ("insertText:", "\U00F6"); /* Compose, DIAERESIS, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DIAERESIS */
            "\U0075" = ("insertText:", "\U00FC"); /* Compose, DIAERESIS, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS */
            "\U0079" = ("insertText:", "\U00FF"); /* Compose, DIAERESIS, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH DIAERESIS */
            "\U007E" = ("insertText:", "\U1FC1"); /* Compose, DIAERESIS, TILDE: GREEK DIALYTIKA AND PERISPOMENI */
            "\U00B4" = ("insertText:", "\U0385"); /* Compose, DIAERESIS, ACUTE ACCENT: GREEK DIALYTIKA TONOS */
        };
        "\U00AF" = {
            "\U0021" = {
                "\U004C" = ("insertText:", "\U1E38"); /* Compose, MACRON, EXCLAMATION MARK, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH DOT BELOW AND MACRON */
                "\U0052" = ("insertText:", "\U1E5C"); /* Compose, MACRON, EXCLAMATION MARK, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH DOT BELOW AND MACRON */
                "\U006C" = ("insertText:", "\U1E39"); /* Compose, MACRON, EXCLAMATION MARK, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH DOT BELOW AND MACRON */
                "\U0072" = ("insertText:", "\U1E5D"); /* Compose, MACRON, EXCLAMATION MARK, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH DOT BELOW AND MACRON */
            };
            "\U0022" = {
                "\U0041" = ("insertText:", "\U01DE"); /* Compose, MACRON, QUOTATION MARK, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DIAERESIS AND MACRON */
                "\U004F" = ("insertText:", "\U022A"); /* Compose, MACRON, QUOTATION MARK, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DIAERESIS AND MACRON */
                "\U0055" = ("insertText:", "\U01D5"); /* Compose, MACRON, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS AND MACRON */
                "\U0061" = ("insertText:", "\U01DF"); /* Compose, MACRON, QUOTATION MARK, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DIAERESIS AND MACRON */
                "\U006F" = ("insertText:", "\U022B"); /* Compose, MACRON, QUOTATION MARK, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DIAERESIS AND MACRON */
                "\U0075" = ("insertText:", "\U01D6"); /* Compose, MACRON, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS AND MACRON */
            };
            "\U002E" = {
                "\U0041" = ("insertText:", "\U01E0"); /* Compose, MACRON, FULL STOP, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH DOT ABOVE AND MACRON */
                "\U004F" = ("insertText:", "\U0230"); /* Compose, MACRON, FULL STOP, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH DOT ABOVE AND MACRON */
                "\U0061" = ("insertText:", "\U01E1"); /* Compose, MACRON, FULL STOP, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH DOT ABOVE AND MACRON */
                "\U006F" = ("insertText:", "\U0231"); /* Compose, MACRON, FULL STOP, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH DOT ABOVE AND MACRON */
            };
            "\U003B" = {
                "\U004F" = ("insertText:", "\U01EC"); /* Compose, MACRON, SEMICOLON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH OGONEK AND MACRON */
                "\U006F" = ("insertText:", "\U01ED"); /* Compose, MACRON, SEMICOLON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH OGONEK AND MACRON */
            };
            "\U0041" = ("insertText:", "\U0100"); /* Compose, MACRON, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH MACRON */
            "\U0045" = ("insertText:", "\U0112"); /* Compose, MACRON, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON */
            "\U0047" = ("insertText:", "\U1E20"); /* Compose, MACRON, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH MACRON */
            "\U0049" = ("insertText:", "\U012A"); /* Compose, MACRON, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH MACRON */
            "\U004F" = ("insertText:", "\U014C"); /* Compose, MACRON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON */
            "\U0055" = ("insertText:", "\U016A"); /* Compose, MACRON, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH MACRON */
            "\U0059" = ("insertText:", "\U0232"); /* Compose, MACRON, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH MACRON */
            "\U0061" = ("insertText:", "\U0101"); /* Compose, MACRON, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH MACRON */
            "\U0065" = ("insertText:", "\U0113"); /* Compose, MACRON, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON */
            "\U0067" = ("insertText:", "\U1E21"); /* Compose, MACRON, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH MACRON */
            "\U0069" = ("insertText:", "\U012B"); /* Compose, MACRON, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH MACRON */
            "\U006F" = ("insertText:", "\U014D"); /* Compose, MACRON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON */
            "\U0075" = ("insertText:", "\U016B"); /* Compose, MACRON, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH MACRON */
            "\U0079" = ("insertText:", "\U0233"); /* Compose, MACRON, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH MACRON */
            "\U007E" = {
                "\U004F" = ("insertText:", "\U022C"); /* Compose, MACRON, TILDE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE AND MACRON */
                "\U006F" = ("insertText:", "\U022D"); /* Compose, MACRON, TILDE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE AND MACRON */
            };
            "\U00C4" = ("insertText:", "\U01DE"); /* Compose, MACRON, LATIN CAPITAL LETTER A WITH DIAERESIS: LATIN CAPITAL LETTER A WITH DIAERESIS AND MACRON */
            "\U00C6" = ("insertText:", "\U01E2"); /* Compose, MACRON, LATIN CAPITAL LETTER AE: LATIN CAPITAL LETTER AE WITH MACRON */
            "\U00D5" = ("insertText:", "\U022C"); /* Compose, MACRON, LATIN CAPITAL LETTER O WITH TILDE: LATIN CAPITAL LETTER O WITH TILDE AND MACRON */
            "\U00D6" = ("insertText:", "\U022A"); /* Compose, MACRON, LATIN CAPITAL LETTER O WITH DIAERESIS: LATIN CAPITAL LETTER O WITH DIAERESIS AND MACRON */
            "\U00DC" = ("insertText:", "\U01D5"); /* Compose, MACRON, LATIN CAPITAL LETTER U WITH DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS AND MACRON */
            "\U00E4" = ("insertText:", "\U01DF"); /* Compose, MACRON, LATIN SMALL LETTER A WITH DIAERESIS: LATIN SMALL LETTER A WITH DIAERESIS AND MACRON */
            "\U00E6" = ("insertText:", "\U01E3"); /* Compose, MACRON, LATIN SMALL LETTER AE: LATIN SMALL LETTER AE WITH MACRON */
            "\U00F5" = ("insertText:", "\U022D"); /* Compose, MACRON, LATIN SMALL LETTER O WITH TILDE: LATIN SMALL LETTER O WITH TILDE AND MACRON */
            "\U00F6" = ("insertText:", "\U022B"); /* Compose, MACRON, LATIN SMALL LETTER O WITH DIAERESIS: LATIN SMALL LETTER O WITH DIAERESIS AND MACRON */
            "\U00FC" = ("insertText:", "\U01D6"); /* Compose, MACRON, LATIN SMALL LETTER U WITH DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS AND MACRON */
            "\U01EA" = ("insertText:", "\U01EC"); /* Compose, MACRON, LATIN CAPITAL LETTER O WITH OGONEK: LATIN CAPITAL LETTER O WITH OGONEK AND MACRON */
            "\U01EB" = ("insertText:", "\U01ED"); /* Compose, MACRON, LATIN SMALL LETTER O WITH OGONEK: LATIN SMALL LETTER O WITH OGONEK AND MACRON */
            "\U0226" = ("insertText:", "\U01E0"); /* Compose, MACRON, LATIN CAPITAL LETTER A WITH DOT ABOVE: LATIN CAPITAL LETTER A WITH DOT ABOVE AND MACRON */
            "\U0227" = ("insertText:", "\U01E1"); /* Compose, MACRON, LATIN SMALL LETTER A WITH DOT ABOVE: LATIN SMALL LETTER A WITH DOT ABOVE AND MACRON */
            "\U022E" = ("insertText:", "\U0230"); /* Compose, MACRON, LATIN CAPITAL LETTER O WITH DOT ABOVE: LATIN CAPITAL LETTER O WITH DOT ABOVE AND MACRON */
            "\U022F" = ("insertText:", "\U0231"); /* Compose, MACRON, LATIN SMALL LETTER O WITH DOT ABOVE: LATIN SMALL LETTER O WITH DOT ABOVE AND MACRON */
            "\U06C1" = ("insertText:", "\U0430"); /* Compose, MACRON, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
            "\U06C5" = ("insertText:", "\U0435"); /* Compose, MACRON, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE */
            "\U06C9" = ("insertText:", "\U04E3"); /* Compose, MACRON, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I WITH MACRON */
            "\U06CF" = ("insertText:", "\U043E"); /* Compose, MACRON, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
            "\U06D2" = ("insertText:", "\U0440"); /* Compose, MACRON, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
            "\U06D5" = ("insertText:", "\U04EF"); /* Compose, MACRON, ARABIC LETTER AE: CYRILLIC SMALL LETTER U WITH MACRON */
            "\U06E1" = ("insertText:", "\U0410"); /* Compose, MACRON, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
            "\U06E5" = ("insertText:", "\U0415"); /* Compose, MACRON, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE */
            "\U06E9" = ("insertText:", "\U04E2"); /* Compose, MACRON, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I WITH MACRON */
            "\U06EF" = ("insertText:", "\U041E"); /* Compose, MACRON, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
            "\U06F2" = ("insertText:", "\U0420"); /* Compose, MACRON, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
            "\U06F5" = ("insertText:", "\U04EE"); /* Compose, MACRON, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U WITH MACRON */
            "\U07C1" = ("insertText:", "\U1FB9"); /* Compose, MACRON, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH MACRON */
            "\U07C9" = ("insertText:", "\U1FD9"); /* Compose, MACRON, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH MACRON */
            "\U07D5" = ("insertText:", "\U1FE9"); /* Compose, MACRON, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH MACRON */
            "\U07E1" = ("insertText:", "\U1FB1"); /* Compose, MACRON, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH MACRON */
            "\U07E9" = ("insertText:", "\U1FD1"); /* Compose, MACRON, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH MACRON */
            "\U07F5" = ("insertText:", "\U1FE1"); /* Compose, MACRON, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH MACRON */
            "\U1E36" = ("insertText:", "\U1E38"); /* Compose, MACRON, LATIN CAPITAL LETTER L WITH DOT BELOW: LATIN CAPITAL LETTER L WITH DOT BELOW AND MACRON */
            "\U1E37" = ("insertText:", "\U1E39"); /* Compose, MACRON, LATIN SMALL LETTER L WITH DOT BELOW: LATIN SMALL LETTER L WITH DOT BELOW AND MACRON */
            "\U1E5A" = ("insertText:", "\U1E5C"); /* Compose, MACRON, LATIN CAPITAL LETTER R WITH DOT BELOW: LATIN CAPITAL LETTER R WITH DOT BELOW AND MACRON */
            "\U1E5B" = ("insertText:", "\U1E5D"); /* Compose, MACRON, LATIN SMALL LETTER R WITH DOT BELOW: LATIN SMALL LETTER R WITH DOT BELOW AND MACRON */
        };
        "\U00B4" = {
            "\U0022" = {
                "\U0049" = ("insertText:", "\U1E2E"); /* Compose, ACUTE ACCENT, QUOTATION MARK, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH DIAERESIS AND ACUTE */
                "\U0055" = ("insertText:", "\U01D7"); /* Compose, ACUTE ACCENT, QUOTATION MARK, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH DIAERESIS AND ACUTE */
                "\U0069" = ("insertText:", "\U1E2F"); /* Compose, ACUTE ACCENT, QUOTATION MARK, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH DIAERESIS AND ACUTE */
                "\U0075" = ("insertText:", "\U01D8"); /* Compose, ACUTE ACCENT, QUOTATION MARK, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH DIAERESIS AND ACUTE */
                "\U07E9" = ("insertText:", "\U0390"); /* Compose, ACUTE ACCENT, QUOTATION MARK, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND TONOS */
                "\U07F5" = ("insertText:", "\U03B0"); /* Compose, ACUTE ACCENT, QUOTATION MARK, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND TONOS */
            };
            "\U0028" = {
                "\U07C1" = ("insertText:", "\U1F0D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA */
                "\U07C5" = ("insertText:", "\U1F1D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH DASIA AND OXIA */
                "\U07C7" = ("insertText:", "\U1F2D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA */
                "\U07C9" = ("insertText:", "\U1F3D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH DASIA AND OXIA */
                "\U07CF" = ("insertText:", "\U1F4D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH DASIA AND OXIA */
                "\U07D5" = ("insertText:", "\U1F5D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND OXIA */
                "\U07D9" = ("insertText:", "\U1F6D"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA */
                "\U07E1" = ("insertText:", "\U1F05"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA */
                "\U07E5" = ("insertText:", "\U1F15"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH DASIA AND OXIA */
                "\U07E7" = ("insertText:", "\U1F25"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND OXIA */
                "\U07E9" = ("insertText:", "\U1F35"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH DASIA AND OXIA */
                "\U07EF" = ("insertText:", "\U1F45"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH DASIA AND OXIA */
                "\U07F5" = ("insertText:", "\U1F55"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH DASIA AND OXIA */
                "\U07F9" = ("insertText:", "\U1F65"); /* Compose, ACUTE ACCENT, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA */
            };
            "\U0029" = {
                "\U07C1" = ("insertText:", "\U1F0C"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA */
                "\U07C5" = ("insertText:", "\U1F1C"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH PSILI AND OXIA */
                "\U07C7" = ("insertText:", "\U1F2C"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA */
                "\U07C9" = ("insertText:", "\U1F3C"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH PSILI AND OXIA */
                "\U07CF" = ("insertText:", "\U1F4C"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH PSILI AND OXIA */
                "\U07D9" = ("insertText:", "\U1F6C"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA */
                "\U07E1" = ("insertText:", "\U1F04"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA */
                "\U07E5" = ("insertText:", "\U1F14"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH PSILI AND OXIA */
                "\U07E7" = ("insertText:", "\U1F24"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND OXIA */
                "\U07E9" = ("insertText:", "\U1F34"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH PSILI AND OXIA */
                "\U07EF" = ("insertText:", "\U1F44"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH PSILI AND OXIA */
                "\U07F5" = ("insertText:", "\U1F54"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH PSILI AND OXIA */
                "\U07F9" = ("insertText:", "\U1F64"); /* Compose, ACUTE ACCENT, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA */
            };
            "\U002B" = {
                "\U004F" = ("insertText:", "\U1EDA"); /* Compose, ACUTE ACCENT, PLUS SIGN, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH HORN AND ACUTE */
                "\U0055" = ("insertText:", "\U1EE8"); /* Compose, ACUTE ACCENT, PLUS SIGN, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH HORN AND ACUTE */
                "\U006F" = ("insertText:", "\U1EDB"); /* Compose, ACUTE ACCENT, PLUS SIGN, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH HORN AND ACUTE */
                "\U0075" = ("insertText:", "\U1EE9"); /* Compose, ACUTE ACCENT, PLUS SIGN, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH HORN AND ACUTE */
            };
            "\U002C" = {
                "\U0043" = ("insertText:", "\U1E08"); /* Compose, ACUTE ACCENT, COMMA, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CEDILLA AND ACUTE */
                "\U0063" = ("insertText:", "\U1E09"); /* Compose, ACUTE ACCENT, COMMA, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CEDILLA AND ACUTE */
            };
            "\U002F" = {
                "\U004F" = ("insertText:", "\U01FE"); /* Compose, ACUTE ACCENT, SOLIDUS, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH STROKE AND ACUTE */
                "\U006F" = ("insertText:", "\U01FF"); /* Compose, ACUTE ACCENT, SOLIDUS, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH STROKE AND ACUTE */
            };
            "\U0041" = ("insertText:", "\U00C1"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH ACUTE */
            "\U0043" = ("insertText:", "\U0106"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH ACUTE */
            "\U0045" = ("insertText:", "\U00C9"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH ACUTE */
            "\U0047" = ("insertText:", "\U01F4"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH ACUTE */
            "\U0049" = ("insertText:", "\U00CD"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH ACUTE */
            "\U004B" = ("insertText:", "\U1E30"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER K: LATIN CAPITAL LETTER K WITH ACUTE */
            "\U004C" = ("insertText:", "\U0139"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH ACUTE */
            "\U004D" = ("insertText:", "\U1E3E"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER M: LATIN CAPITAL LETTER M WITH ACUTE */
            "\U004E" = ("insertText:", "\U0143"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH ACUTE */
            "\U004F" = ("insertText:", "\U00D3"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH ACUTE */
            "\U0050" = ("insertText:", "\U1E54"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER P: LATIN CAPITAL LETTER P WITH ACUTE */
            "\U0052" = ("insertText:", "\U0154"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH ACUTE */
            "\U0053" = ("insertText:", "\U015A"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH ACUTE */
            "\U0055" = ("insertText:", "\U00DA"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH ACUTE */
            "\U0057" = ("insertText:", "\U1E82"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER W: LATIN CAPITAL LETTER W WITH ACUTE */
            "\U0059" = ("insertText:", "\U00DD"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER Y: LATIN CAPITAL LETTER Y WITH ACUTE */
            "\U005A" = ("insertText:", "\U0179"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH ACUTE */
            "\U005E" = {
                "\U0041" = ("insertText:", "\U1EA4"); /* Compose, ACUTE ACCENT, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND ACUTE */
                "\U0045" = ("insertText:", "\U1EBE"); /* Compose, ACUTE ACCENT, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND ACUTE */
                "\U004F" = ("insertText:", "\U1ED0"); /* Compose, ACUTE ACCENT, CIRCUMFLEX ACCENT, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND ACUTE */
                "\U0061" = ("insertText:", "\U1EA5"); /* Compose, ACUTE ACCENT, CIRCUMFLEX ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH CIRCUMFLEX AND ACUTE */
                "\U0065" = ("insertText:", "\U1EBF"); /* Compose, ACUTE ACCENT, CIRCUMFLEX ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CIRCUMFLEX AND ACUTE */
                "\U006F" = ("insertText:", "\U1ED1"); /* Compose, ACUTE ACCENT, CIRCUMFLEX ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH CIRCUMFLEX AND ACUTE */
            };
            "\U005F" = {
                "\U0045" = ("insertText:", "\U1E16"); /* Compose, ACUTE ACCENT, LOW LINE, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON AND ACUTE */
                "\U004F" = ("insertText:", "\U1E52"); /* Compose, ACUTE ACCENT, LOW LINE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON AND ACUTE */
                "\U0065" = ("insertText:", "\U1E17"); /* Compose, ACUTE ACCENT, LOW LINE, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON AND ACUTE */
                "\U006F" = ("insertText:", "\U1E53"); /* Compose, ACUTE ACCENT, LOW LINE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON AND ACUTE */
            };
            "\U0061" = ("insertText:", "\U00E1"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH ACUTE */
            "\U0062" = {
                "\U0041" = ("insertText:", "\U1EAE"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER B, LATIN CAPITAL LETTER A: LATIN CAPITAL LETTER A WITH BREVE AND ACUTE */
                "\U0061" = ("insertText:", "\U1EAF"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER B, LATIN SMALL LETTER A: LATIN SMALL LETTER A WITH BREVE AND ACUTE */
            };
            "\U0063" = ("insertText:", "\U0107"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH ACUTE */
            "\U0065" = ("insertText:", "\U00E9"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH ACUTE */
            "\U0067" = ("insertText:", "\U01F5"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH ACUTE */
            "\U0069" = ("insertText:", "\U00ED"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH ACUTE */
            "\U006B" = ("insertText:", "\U1E31"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER K: LATIN SMALL LETTER K WITH ACUTE */
            "\U006C" = ("insertText:", "\U013A"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH ACUTE */
            "\U006D" = ("insertText:", "\U1E3F"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER M: LATIN SMALL LETTER M WITH ACUTE */
            "\U006E" = ("insertText:", "\U0144"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH ACUTE */
            "\U006F" = ("insertText:", "\U00F3"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH ACUTE */
            "\U0070" = ("insertText:", "\U1E55"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER P: LATIN SMALL LETTER P WITH ACUTE */
            "\U0072" = ("insertText:", "\U0155"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH ACUTE */
            "\U0073" = ("insertText:", "\U015B"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH ACUTE */
            "\U0075" = ("insertText:", "\U00FA"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH ACUTE */
            "\U0077" = ("insertText:", "\U1E83"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER W: LATIN SMALL LETTER W WITH ACUTE */
            "\U0079" = ("insertText:", "\U00FD"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER Y: LATIN SMALL LETTER Y WITH ACUTE */
            "\U007A" = ("insertText:", "\U017A"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH ACUTE */
            "\U007E" = {
                "\U004F" = ("insertText:", "\U1E4C"); /* Compose, ACUTE ACCENT, TILDE, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH TILDE AND ACUTE */
                "\U0055" = ("insertText:", "\U1E78"); /* Compose, ACUTE ACCENT, TILDE, LATIN CAPITAL LETTER U: LATIN CAPITAL LETTER U WITH TILDE AND ACUTE */
                "\U006F" = ("insertText:", "\U1E4D"); /* Compose, ACUTE ACCENT, TILDE, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH TILDE AND ACUTE */
                "\U0075" = ("insertText:", "\U1E79"); /* Compose, ACUTE ACCENT, TILDE, LATIN SMALL LETTER U: LATIN SMALL LETTER U WITH TILDE AND ACUTE */
            };
            "\U00AF" = {
                "\U0045" = ("insertText:", "\U1E16"); /* Compose, ACUTE ACCENT, MACRON, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH MACRON AND ACUTE */
                "\U004F" = ("insertText:", "\U1E52"); /* Compose, ACUTE ACCENT, MACRON, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH MACRON AND ACUTE */
                "\U0065" = ("insertText:", "\U1E17"); /* Compose, ACUTE ACCENT, MACRON, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH MACRON AND ACUTE */
                "\U006F" = ("insertText:", "\U1E53"); /* Compose, ACUTE ACCENT, MACRON, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH MACRON AND ACUTE */
            };
            "\U00B8" = {
                "\U0043" = ("insertText:", "\U1E08"); /* Compose, ACUTE ACCENT, CEDILLA, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CEDILLA AND ACUTE */
                "\U0063" = ("insertText:", "\U1E09"); /* Compose, ACUTE ACCENT, CEDILLA, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CEDILLA AND ACUTE */
            };
            "\U00C2" = ("insertText:", "\U1EA4"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER A WITH CIRCUMFLEX: LATIN CAPITAL LETTER A WITH CIRCUMFLEX AND ACUTE */
            "\U00C5" = ("insertText:", "\U01FA"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER A WITH RING ABOVE: LATIN CAPITAL LETTER A WITH RING ABOVE AND ACUTE */
            "\U00C6" = ("insertText:", "\U01FC"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER AE: LATIN CAPITAL LETTER AE WITH ACUTE */
            "\U00C7" = ("insertText:", "\U1E08"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER C WITH CEDILLA: LATIN CAPITAL LETTER C WITH CEDILLA AND ACUTE */
            "\U00CA" = ("insertText:", "\U1EBE"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER E WITH CIRCUMFLEX: LATIN CAPITAL LETTER E WITH CIRCUMFLEX AND ACUTE */
            "\U00CF" = ("insertText:", "\U1E2E"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER I WITH DIAERESIS: LATIN CAPITAL LETTER I WITH DIAERESIS AND ACUTE */
            "\U00D4" = ("insertText:", "\U1ED0"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER O WITH CIRCUMFLEX: LATIN CAPITAL LETTER O WITH CIRCUMFLEX AND ACUTE */
            "\U00D5" = ("insertText:", "\U1E4C"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER O WITH TILDE: LATIN CAPITAL LETTER O WITH TILDE AND ACUTE */
            "\U00D8" = ("insertText:", "\U01FE"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER O WITH STROKE: LATIN CAPITAL LETTER O WITH STROKE AND ACUTE */
            "\U00DC" = ("insertText:", "\U01D7"); /* Compose, ACUTE ACCENT, LATIN CAPITAL LETTER U WITH DIAERESIS: LATIN CAPITAL LETTER U WITH DIAERESIS AND ACUTE */
            "\U00E2" = ("insertText:", "\U1EA5"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER A WITH CIRCUMFLEX: LATIN SMALL LETTER A WITH CIRCUMFLEX AND ACUTE */
            "\U00E5" = ("insertText:", "\U01FB"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER A WITH RING ABOVE: LATIN SMALL LETTER A WITH RING ABOVE AND ACUTE */
            "\U00E6" = ("insertText:", "\U01FD"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER AE: LATIN SMALL LETTER AE WITH ACUTE */
            "\U00E7" = ("insertText:", "\U1E09"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER C WITH CEDILLA: LATIN SMALL LETTER C WITH CEDILLA AND ACUTE */
            "\U00EA" = ("insertText:", "\U1EBF"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER E WITH CIRCUMFLEX: LATIN SMALL LETTER E WITH CIRCUMFLEX AND ACUTE */
            "\U00EF" = ("insertText:", "\U1E2F"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER I WITH DIAERESIS: LATIN SMALL LETTER I WITH DIAERESIS AND ACUTE */
            "\U00F4" = ("insertText:", "\U1ED1"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER O WITH CIRCUMFLEX: LATIN SMALL LETTER O WITH CIRCUMFLEX AND ACUTE */
            "\U00F5" = ("insertText:", "\U1E4D"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER O WITH TILDE: LATIN SMALL LETTER O WITH TILDE AND ACUTE */
            "\U00F8" = ("insertText:", "\U01FF"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER O WITH STROKE: LATIN SMALL LETTER O WITH STROKE AND ACUTE */
            "\U00FC" = ("insertText:", "\U01D8"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER U WITH DIAERESIS: LATIN SMALL LETTER U WITH DIAERESIS AND ACUTE */
            "\U01C3" = ("insertText:", "\U1EAE"); /* Compose, ACUTE ACCENT, LATIN LETTER RETROFLEX CLICK: LATIN CAPITAL LETTER A WITH BREVE AND ACUTE */
            "\U01E3" = ("insertText:", "\U1EAF"); /* Compose, ACUTE ACCENT, LATIN SMALL LETTER AE WITH MACRON: LATIN SMALL LETTER A WITH BREVE AND ACUTE */
            "\U03AA" = ("insertText:", "\U1E16"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER IOTA WITH DIALYTIKA: LATIN CAPITAL LETTER E WITH MACRON AND ACUTE */
            "\U03BA" = ("insertText:", "\U1E17"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER KAPPA: LATIN SMALL LETTER E WITH MACRON AND ACUTE */
            "\U03D2" = ("insertText:", "\U1E52"); /* Compose, ACUTE ACCENT, GREEK UPSILON WITH HOOK SYMBOL: LATIN CAPITAL LETTER O WITH MACRON AND ACUTE */
            "\U03DD" = ("insertText:", "\U1E78"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER DIGAMMA: LATIN CAPITAL LETTER U WITH TILDE AND ACUTE */
            "\U03F2" = ("insertText:", "\U1E53"); /* Compose, ACUTE ACCENT, GREEK LUNATE SIGMA SYMBOL: LATIN SMALL LETTER O WITH MACRON AND ACUTE */
            "\U03FD" = ("insertText:", "\U1E79"); /* Compose, ACUTE ACCENT, GREEK CAPITAL REVERSED LUNATE SIGMA SYMBOL: LATIN SMALL LETTER U WITH TILDE AND ACUTE */
            "\U06C1" = ("insertText:", "\U0430"); /* Compose, ACUTE ACCENT, ARABIC LETTER HEH GOAL: CYRILLIC SMALL LETTER A */
            "\U06C5" = ("insertText:", "\U0435"); /* Compose, ACUTE ACCENT, ARABIC LETTER KIRGHIZ OE: CYRILLIC SMALL LETTER IE */
            "\U06C7" = ("insertText:", "\U0453"); /* Compose, ACUTE ACCENT, ARABIC LETTER U: CYRILLIC SMALL LETTER GJE */
            "\U06C9" = ("insertText:", "\U0438"); /* Compose, ACUTE ACCENT, ARABIC LETTER KIRGHIZ YU: CYRILLIC SMALL LETTER I */
            "\U06CB" = ("insertText:", "\U045C"); /* Compose, ACUTE ACCENT, ARABIC LETTER VE: CYRILLIC SMALL LETTER KJE */
            "\U06CF" = ("insertText:", "\U043E"); /* Compose, ACUTE ACCENT, ARABIC LETTER WAW WITH DOT ABOVE: CYRILLIC SMALL LETTER O */
            "\U06D2" = ("insertText:", "\U0440"); /* Compose, ACUTE ACCENT, ARABIC LETTER YEH BARREE: CYRILLIC SMALL LETTER ER */
            "\U06D5" = ("insertText:", "\U0443"); /* Compose, ACUTE ACCENT, ARABIC LETTER AE: CYRILLIC SMALL LETTER U */
            "\U06E1" = ("insertText:", "\U0410"); /* Compose, ACUTE ACCENT, ARABIC SMALL HIGH DOTLESS HEAD OF KHAH: CYRILLIC CAPITAL LETTER A */
            "\U06E5" = ("insertText:", "\U0415"); /* Compose, ACUTE ACCENT, ARABIC SMALL WAW: CYRILLIC CAPITAL LETTER IE */
            "\U06E7" = ("insertText:", "\U0403"); /* Compose, ACUTE ACCENT, ARABIC SMALL HIGH YEH: CYRILLIC CAPITAL LETTER GJE */
            "\U06E9" = ("insertText:", "\U0418"); /* Compose, ACUTE ACCENT, ARABIC PLACE OF SAJDAH: CYRILLIC CAPITAL LETTER I */
            "\U06EB" = ("insertText:", "\U040C"); /* Compose, ACUTE ACCENT, ARABIC EMPTY CENTRE HIGH STOP: CYRILLIC CAPITAL LETTER KJE */
            "\U06EF" = ("insertText:", "\U041E"); /* Compose, ACUTE ACCENT, ARABIC LETTER REH WITH INVERTED V: CYRILLIC CAPITAL LETTER O */
            "\U06F2" = ("insertText:", "\U0420"); /* Compose, ACUTE ACCENT, EXTENDED ARABIC-INDIC DIGIT TWO: CYRILLIC CAPITAL LETTER ER */
            "\U06F5" = ("insertText:", "\U0423"); /* Compose, ACUTE ACCENT, EXTENDED ARABIC-INDIC DIGIT FIVE: CYRILLIC CAPITAL LETTER U */
            "\U07B5" = ("insertText:", "\U0390"); /* Compose, ACUTE ACCENT, unknown: GREEK SMALL LETTER IOTA WITH DIALYTIKA AND TONOS */
            "\U07B9" = ("insertText:", "\U03B0"); /* Compose, ACUTE ACCENT, unknown: GREEK SMALL LETTER UPSILON WITH DIALYTIKA AND TONOS */
            "\U07C1" = ("insertText:", "\U0386"); /* Compose, ACUTE ACCENT, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH TONOS */
            "\U07C5" = ("insertText:", "\U0388"); /* Compose, ACUTE ACCENT, NKO DIGIT FIVE: GREEK CAPITAL LETTER EPSILON WITH TONOS */
            "\U07C7" = ("insertText:", "\U0389"); /* Compose, ACUTE ACCENT, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH TONOS */
            "\U07C9" = ("insertText:", "\U038A"); /* Compose, ACUTE ACCENT, NKO DIGIT NINE: GREEK CAPITAL LETTER IOTA WITH TONOS */
            "\U07CF" = ("insertText:", "\U038C"); /* Compose, ACUTE ACCENT, NKO LETTER OO: GREEK CAPITAL LETTER OMICRON WITH TONOS */
            "\U07D5" = ("insertText:", "\U038E"); /* Compose, ACUTE ACCENT, NKO LETTER TA: GREEK CAPITAL LETTER UPSILON WITH TONOS */
            "\U07D9" = ("insertText:", "\U038F"); /* Compose, ACUTE ACCENT, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH TONOS */
            "\U07E1" = ("insertText:", "\U03AC"); /* Compose, ACUTE ACCENT, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH TONOS */
            "\U07E5" = ("insertText:", "\U03AD"); /* Compose, ACUTE ACCENT, NKO LETTER WA: GREEK SMALL LETTER EPSILON WITH TONOS */
            "\U07E7" = ("insertText:", "\U03AE"); /* Compose, ACUTE ACCENT, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH TONOS */
            "\U07E9" = ("insertText:", "\U03AF"); /* Compose, ACUTE ACCENT, NKO LETTER JONA CHA: GREEK SMALL LETTER IOTA WITH TONOS */
            "\U07EF" = ("insertText:", "\U03CC"); /* Compose, ACUTE ACCENT, NKO COMBINING LONG HIGH TONE: GREEK SMALL LETTER OMICRON WITH TONOS */
            "\U07F5" = ("insertText:", "\U03CD"); /* Compose, ACUTE ACCENT, NKO LOW TONE APOSTROPHE: GREEK SMALL LETTER UPSILON WITH TONOS */
            "\U07F9" = ("insertText:", "\U03CE"); /* Compose, ACUTE ACCENT, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH TONOS */
            "\U1F00" = ("insertText:", "\U1F04"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA */
            "\U1F01" = ("insertText:", "\U1F05"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA */
            "\U1F08" = ("insertText:", "\U1F0C"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA */
            "\U1F09" = ("insertText:", "\U1F0D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA */
            "\U1F10" = ("insertText:", "\U1F14"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER EPSILON WITH PSILI: GREEK SMALL LETTER EPSILON WITH PSILI AND OXIA */
            "\U1F11" = ("insertText:", "\U1F15"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER EPSILON WITH DASIA: GREEK SMALL LETTER EPSILON WITH DASIA AND OXIA */
            "\U1F18" = ("insertText:", "\U1F1C"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER EPSILON WITH PSILI: GREEK CAPITAL LETTER EPSILON WITH PSILI AND OXIA */
            "\U1F19" = ("insertText:", "\U1F1D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER EPSILON WITH DASIA: GREEK CAPITAL LETTER EPSILON WITH DASIA AND OXIA */
            "\U1F20" = ("insertText:", "\U1F24"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND OXIA */
            "\U1F21" = ("insertText:", "\U1F25"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND OXIA */
            "\U1F28" = ("insertText:", "\U1F2C"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA */
            "\U1F29" = ("insertText:", "\U1F2D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA */
            "\U1F30" = ("insertText:", "\U1F34"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER IOTA WITH PSILI: GREEK SMALL LETTER IOTA WITH PSILI AND OXIA */
            "\U1F31" = ("insertText:", "\U1F35"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER IOTA WITH DASIA: GREEK SMALL LETTER IOTA WITH DASIA AND OXIA */
            "\U1F38" = ("insertText:", "\U1F3C"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER IOTA WITH PSILI: GREEK CAPITAL LETTER IOTA WITH PSILI AND OXIA */
            "\U1F39" = ("insertText:", "\U1F3D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER IOTA WITH DASIA: GREEK CAPITAL LETTER IOTA WITH DASIA AND OXIA */
            "\U1F40" = ("insertText:", "\U1F44"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER OMICRON WITH PSILI: GREEK SMALL LETTER OMICRON WITH PSILI AND OXIA */
            "\U1F41" = ("insertText:", "\U1F45"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER OMICRON WITH DASIA: GREEK SMALL LETTER OMICRON WITH DASIA AND OXIA */
            "\U1F48" = ("insertText:", "\U1F4C"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER OMICRON WITH PSILI: GREEK CAPITAL LETTER OMICRON WITH PSILI AND OXIA */
            "\U1F49" = ("insertText:", "\U1F4D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER OMICRON WITH DASIA: GREEK CAPITAL LETTER OMICRON WITH DASIA AND OXIA */
            "\U1F50" = ("insertText:", "\U1F54"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER UPSILON WITH PSILI: GREEK SMALL LETTER UPSILON WITH PSILI AND OXIA */
            "\U1F51" = ("insertText:", "\U1F55"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER UPSILON WITH DASIA: GREEK SMALL LETTER UPSILON WITH DASIA AND OXIA */
            "\U1F59" = ("insertText:", "\U1F5D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER UPSILON WITH DASIA: GREEK CAPITAL LETTER UPSILON WITH DASIA AND OXIA */
            "\U1F60" = ("insertText:", "\U1F64"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA */
            "\U1F61" = ("insertText:", "\U1F65"); /* Compose, ACUTE ACCENT, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA */
            "\U1F68" = ("insertText:", "\U1F6C"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA */
            "\U1F69" = ("insertText:", "\U1F6D"); /* Compose, ACUTE ACCENT, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA */
            "\UFFAF" = {
                "\U004F" = ("insertText:", "\U01FE"); /* Compose, ACUTE ACCENT, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH STROKE AND ACUTE */
                "\U006F" = ("insertText:", "\U01FF"); /* Compose, ACUTE ACCENT, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH STROKE AND ACUTE */
            };
        };
        "\U00B8" = {
            "\U0043" = ("insertText:", "\U00C7"); /* Compose, CEDILLA, LATIN CAPITAL LETTER C: LATIN CAPITAL LETTER C WITH CEDILLA */
            "\U0044" = ("insertText:", "\U1E10"); /* Compose, CEDILLA, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH CEDILLA */
            "\U0045" = ("insertText:", "\U0228"); /* Compose, CEDILLA, LATIN CAPITAL LETTER E: LATIN CAPITAL LETTER E WITH CEDILLA */
            "\U0047" = ("insertText:", "\U0122"); /* Compose, CEDILLA, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH CEDILLA */
            "\U0048" = ("insertText:", "\U1E28"); /* Compose, CEDILLA, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH CEDILLA */
            "\U004B" = ("insertText:", "\U0136"); /* Compose, CEDILLA, LATIN CAPITAL LETTER K: LATIN CAPITAL LETTER K WITH CEDILLA */
            "\U004C" = ("insertText:", "\U013B"); /* Compose, CEDILLA, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH CEDILLA */
            "\U004E" = ("insertText:", "\U0145"); /* Compose, CEDILLA, LATIN CAPITAL LETTER N: LATIN CAPITAL LETTER N WITH CEDILLA */
            "\U0052" = ("insertText:", "\U0156"); /* Compose, CEDILLA, LATIN CAPITAL LETTER R: LATIN CAPITAL LETTER R WITH CEDILLA */
            "\U0053" = ("insertText:", "\U015E"); /* Compose, CEDILLA, LATIN CAPITAL LETTER S: LATIN CAPITAL LETTER S WITH CEDILLA */
            "\U0054" = ("insertText:", "\U0162"); /* Compose, CEDILLA, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH CEDILLA */
            "\U0063" = ("insertText:", "\U00E7"); /* Compose, CEDILLA, LATIN SMALL LETTER C: LATIN SMALL LETTER C WITH CEDILLA */
            "\U0064" = ("insertText:", "\U1E11"); /* Compose, CEDILLA, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH CEDILLA */
            "\U0065" = ("insertText:", "\U0229"); /* Compose, CEDILLA, LATIN SMALL LETTER E: LATIN SMALL LETTER E WITH CEDILLA */
            "\U0067" = ("insertText:", "\U0123"); /* Compose, CEDILLA, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH CEDILLA */
            "\U0068" = ("insertText:", "\U1E29"); /* Compose, CEDILLA, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH CEDILLA */
            "\U006B" = ("insertText:", "\U0137"); /* Compose, CEDILLA, LATIN SMALL LETTER K: LATIN SMALL LETTER K WITH CEDILLA */
            "\U006C" = ("insertText:", "\U013C"); /* Compose, CEDILLA, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH CEDILLA */
            "\U006E" = ("insertText:", "\U0146"); /* Compose, CEDILLA, LATIN SMALL LETTER N: LATIN SMALL LETTER N WITH CEDILLA */
            "\U0072" = ("insertText:", "\U0157"); /* Compose, CEDILLA, LATIN SMALL LETTER R: LATIN SMALL LETTER R WITH CEDILLA */
            "\U0073" = ("insertText:", "\U015F"); /* Compose, CEDILLA, LATIN SMALL LETTER S: LATIN SMALL LETTER S WITH CEDILLA */
            "\U0074" = ("insertText:", "\U0163"); /* Compose, CEDILLA, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH CEDILLA */
        };
        "\U01A2" = {
            "\U0047" = ("insertText:", "\U011E"); /* Compose, LATIN CAPITAL LETTER GHA, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH BREVE */
            "\U0067" = ("insertText:", "\U011F"); /* Compose, LATIN CAPITAL LETTER GHA, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH BREVE */
        };
        "\U05B4" = {
            "\U0CE9" = ("insertText:", "\UFB1D"); /* Compose, HEBREW POINT HIRIQ, KANNADA DIGIT THREE: HEBREW LETTER YOD WITH HIRIQ */
        };
        "\U05B7" = {
            "\U05F2" = ("insertText:", "\UFB1F"); /* Compose, HEBREW POINT PATAH, HEBREW LIGATURE YIDDISH DOUBLE YOD: HEBREW LIGATURE YIDDISH YOD YOD PATAH */
            "\U0CE0" = ("insertText:", "\UFB2E"); /* Compose, HEBREW POINT PATAH, KANNADA LETTER VOCALIC RR: HEBREW LETTER ALEF WITH PATAH */
        };
        "\U05B8" = {
            "\U0CE0" = ("insertText:", "\UFB2F"); /* Compose, HEBREW POINT QAMATS, KANNADA LETTER VOCALIC RR: HEBREW LETTER ALEF WITH QAMATS */
        };
        "\U05B9" = {
            "\U0CE5" = ("insertText:", "\UFB4B"); /* Compose, HEBREW POINT HOLAM, unknown: HEBREW LETTER VAV WITH HOLAM */
        };
        "\U05BC" = {
            "\U0CE0" = ("insertText:", "\UFB30"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA LETTER VOCALIC RR: HEBREW LETTER ALEF WITH MAPIQ */
            "\U0CE1" = ("insertText:", "\UFB31"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA LETTER VOCALIC LL: HEBREW LETTER BET WITH DAGESH */
            "\U0CE2" = ("insertText:", "\UFB32"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA VOWEL SIGN VOCALIC L: HEBREW LETTER GIMEL WITH DAGESH */
            "\U0CE3" = ("insertText:", "\UFB33"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA VOWEL SIGN VOCALIC LL: HEBREW LETTER DALET WITH DAGESH */
            "\U0CE4" = ("insertText:", "\UFB34"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER HE WITH MAPIQ */
            "\U0CE5" = ("insertText:", "\UFB35"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER VAV WITH DAGESH */
            "\U0CE6" = ("insertText:", "\UFB36"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT ZERO: HEBREW LETTER ZAYIN WITH DAGESH */
            "\U0CE8" = ("insertText:", "\UFB38"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT TWO: HEBREW LETTER TET WITH DAGESH */
            "\U0CE9" = ("insertText:", "\UFB39"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT THREE: HEBREW LETTER YOD WITH DAGESH */
            "\U0CEA" = ("insertText:", "\UFB3A"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT FOUR: HEBREW LETTER FINAL KAF WITH DAGESH */
            "\U0CEB" = ("insertText:", "\UFB3B"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT FIVE: HEBREW LETTER KAF WITH DAGESH */
            "\U0CEC" = ("insertText:", "\UFB3C"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT SIX: HEBREW LETTER LAMED WITH DAGESH */
            "\U0CEE" = ("insertText:", "\UFB3E"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA DIGIT EIGHT: HEBREW LETTER MEM WITH DAGESH */
            "\U0CF0" = ("insertText:", "\UFB40"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER NUN WITH DAGESH */
            "\U0CF1" = ("insertText:", "\UFB41"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, KANNADA SIGN JIHVAMULIYA: HEBREW LETTER SAMEKH WITH DAGESH */
            "\U0CF3" = ("insertText:", "\UFB43"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER FINAL PE WITH DAGESH */
            "\U0CF4" = ("insertText:", "\UFB44"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER PE WITH DAGESH */
            "\U0CF6" = ("insertText:", "\UFB46"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER TSADI WITH DAGESH */
            "\U0CF7" = ("insertText:", "\UFB47"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER QOF WITH DAGESH */
            "\U0CF8" = ("insertText:", "\UFB48"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER RESH WITH DAGESH */
            "\U0CF9" = ("insertText:", "\UFB49"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER SHIN WITH DAGESH */
            "\U0CFA" = ("insertText:", "\UFB4A"); /* Compose, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER TAV WITH DAGESH */
        };
        "\U05BF" = {
            "\U0CE1" = ("insertText:", "\UFB4C"); /* Compose, HEBREW POINT RAFE, KANNADA LETTER VOCALIC LL: HEBREW LETTER BET WITH RAFE */
            "\U0CEB" = ("insertText:", "\UFB4D"); /* Compose, HEBREW POINT RAFE, KANNADA DIGIT FIVE: HEBREW LETTER KAF WITH RAFE */
            "\U0CF4" = ("insertText:", "\UFB4E"); /* Compose, HEBREW POINT RAFE, unknown: HEBREW LETTER PE WITH RAFE */
        };
        "\U05C1" = {
            "\U05BC" = {
                "\U0CF9" = ("insertText:", "\UFB2C"); /* Compose, HEBREW POINT SHIN DOT, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER SHIN WITH DAGESH AND SHIN DOT */
            };
            "\U0CF9" = ("insertText:", "\UFB2A"); /* Compose, HEBREW POINT SHIN DOT, unknown: HEBREW LETTER SHIN WITH SHIN DOT */
            "\UFB49" = ("insertText:", "\UFB2C"); /* Compose, HEBREW POINT SHIN DOT, HEBREW LETTER SHIN WITH DAGESH: HEBREW LETTER SHIN WITH DAGESH AND SHIN DOT */
        };
        "\U05C2" = {
            "\U05BC" = {
                "\U0CF9" = ("insertText:", "\UFB2D"); /* Compose, HEBREW POINT SIN DOT, HEBREW POINT DAGESH OR MAPIQ, unknown: HEBREW LETTER SHIN WITH DAGESH AND SIN DOT */
            };
            "\U0CF9" = ("insertText:", "\UFB2B"); /* Compose, HEBREW POINT SIN DOT, unknown: HEBREW LETTER SHIN WITH SIN DOT */
            "\UFB49" = ("insertText:", "\UFB2D"); /* Compose, HEBREW POINT SIN DOT, HEBREW LETTER SHIN WITH DAGESH: HEBREW LETTER SHIN WITH DAGESH AND SIN DOT */
        };
        "\U0653" = {
            "\U05C7" = ("insertText:", "\U0622"); /* Compose, ARABIC MADDAH ABOVE, HEBREW POINT QAMATS QATAN: ARABIC LETTER ALEF WITH MADDA ABOVE */
        };
        "\U0654" = {
            "\U05C7" = ("insertText:", "\U0623"); /* Compose, ARABIC HAMZA ABOVE, HEBREW POINT QAMATS QATAN: ARABIC LETTER ALEF WITH HAMZA ABOVE */
            "\U05E8" = ("insertText:", "\U0624"); /* Compose, ARABIC HAMZA ABOVE, HEBREW LETTER RESH: ARABIC LETTER WAW WITH HAMZA ABOVE */
            "\U05EA" = ("insertText:", "\U0626"); /* Compose, ARABIC HAMZA ABOVE, HEBREW LETTER TAV: ARABIC LETTER YEH WITH HAMZA ABOVE */
            "\U06C1" = ("insertText:", "\U06C2"); /* Compose, ARABIC HAMZA ABOVE, ARABIC LETTER HEH GOAL: ARABIC LETTER HEH GOAL WITH HAMZA ABOVE */
            "\U06D2" = ("insertText:", "\U06D3"); /* Compose, ARABIC HAMZA ABOVE, ARABIC LETTER YEH BARREE: ARABIC LETTER YEH BARREE WITH HAMZA ABOVE */
            "\U06D5" = ("insertText:", "\U06C0"); /* Compose, ARABIC HAMZA ABOVE, ARABIC LETTER AE: ARABIC LETTER HEH WITH YEH ABOVE */
        };
        "\U0655" = {
            "\U05C7" = ("insertText:", "\U0625"); /* Compose, ARABIC HAMZA BELOW, HEBREW POINT QAMATS QATAN: ARABIC LETTER ALEF WITH HAMZA BELOW */
        };
        "\U06D0" = {
            "\U06C1" = ("insertText:", "\U00A7"); /* Compose, ARABIC LETTER E, ARABIC LETTER HEH GOAL: SECTION SIGN */
        };
        "\U06E5" = {
            "\U003D" = ("insertText:", "\U20AC"); /* Compose, ARABIC SMALL WAW, EQUALS SIGN: EURO SIGN */
        };
        "\U06EE" = {
            "\U06CF" = ("insertText:", "\U2116"); /* Compose, ARABIC LETTER DAL WITH INVERTED V, ARABIC LETTER WAW WITH DOT ABOVE: NUMERO SIGN */
            "\U06EF" = ("insertText:", "\U2116"); /* Compose, ARABIC LETTER DAL WITH INVERTED V, ARABIC LETTER REH WITH INVERTED V: NUMERO SIGN */
        };
        "\U06F3" = {
            "\U003D" = ("insertText:", "\U20AC"); /* Compose, EXTENDED ARABIC-INDIC DIGIT THREE, EQUALS SIGN: EURO SIGN */
        };
        "\U07C1" = {
            "\U0027" = ("insertText:", "\U0386"); /* Compose, NKO DIGIT ONE, APOSTROPHE: GREEK CAPITAL LETTER ALPHA WITH TONOS */
        };
        "\U07C5" = {
            "\U0027" = ("insertText:", "\U0388"); /* Compose, NKO DIGIT FIVE, APOSTROPHE: GREEK CAPITAL LETTER EPSILON WITH TONOS */
        };
        "\U07C7" = {
            "\U0027" = ("insertText:", "\U0389"); /* Compose, NKO DIGIT SEVEN, APOSTROPHE: GREEK CAPITAL LETTER ETA WITH TONOS */
        };
        "\U07C9" = {
            "\U0022" = ("insertText:", "\U03AA"); /* Compose, NKO DIGIT NINE, QUOTATION MARK: GREEK CAPITAL LETTER IOTA WITH DIALYTIKA */
            "\U0027" = ("insertText:", "\U038A"); /* Compose, NKO DIGIT NINE, APOSTROPHE: GREEK CAPITAL LETTER IOTA WITH TONOS */
        };
        "\U07CF" = {
            "\U0027" = ("insertText:", "\U038C"); /* Compose, NKO LETTER OO, APOSTROPHE: GREEK CAPITAL LETTER OMICRON WITH TONOS */
        };
        "\U07D5" = {
            "\U0022" = ("insertText:", "\U03AB"); /* Compose, NKO LETTER TA, QUOTATION MARK: GREEK CAPITAL LETTER UPSILON WITH DIALYTIKA */
            "\U0027" = ("insertText:", "\U038E"); /* Compose, NKO LETTER TA, APOSTROPHE: GREEK CAPITAL LETTER UPSILON WITH TONOS */
        };
        "\U07D9" = {
            "\U0027" = ("insertText:", "\U038F"); /* Compose, NKO LETTER RA, APOSTROPHE: GREEK CAPITAL LETTER OMEGA WITH TONOS */
        };
        "\U07E1" = {
            "\U0027" = ("insertText:", "\U03AC"); /* Compose, NKO LETTER MA, APOSTROPHE: GREEK SMALL LETTER ALPHA WITH TONOS */
        };
        "\U07E5" = {
            "\U0027" = ("insertText:", "\U03AD"); /* Compose, NKO LETTER WA, APOSTROPHE: GREEK SMALL LETTER EPSILON WITH TONOS */
        };
        "\U07E7" = {
            "\U0027" = ("insertText:", "\U03AE"); /* Compose, NKO LETTER NYA WOLOSO, APOSTROPHE: GREEK SMALL LETTER ETA WITH TONOS */
        };
        "\U07E9" = {
            "\U0022" = ("insertText:", "\U03CA"); /* Compose, NKO LETTER JONA CHA, QUOTATION MARK: GREEK SMALL LETTER IOTA WITH DIALYTIKA */
            "\U0027" = {
                "\U0028" = {
                    "\U07C1" = ("insertText:", "\U1F8D"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9D"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAD"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F85"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F95"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA5"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                };
                "\U0029" = {
                    "\U07C1" = ("insertText:", "\U1F8C"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9C"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAC"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F84"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F94"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA4"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                };
                "\U07E1" = ("insertText:", "\U1FB4"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH OXIA AND YPOGEGRAMMENI */
                "\U07E7" = ("insertText:", "\U1FC4"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH OXIA AND YPOGEGRAMMENI */
                "\U07F9" = ("insertText:", "\U1FF4"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH OXIA AND YPOGEGRAMMENI */
                "\U1F00" = ("insertText:", "\U1F84"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                "\U1F01" = ("insertText:", "\U1F85"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                "\U1F08" = ("insertText:", "\U1F8C"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                "\U1F09" = ("insertText:", "\U1F8D"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                "\U1F20" = ("insertText:", "\U1F94"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                "\U1F21" = ("insertText:", "\U1F95"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                "\U1F28" = ("insertText:", "\U1F9C"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                "\U1F29" = ("insertText:", "\U1F9D"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                "\U1F60" = ("insertText:", "\U1FA4"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                "\U1F61" = ("insertText:", "\U1FA5"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                "\U1F68" = ("insertText:", "\U1FAC"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                "\U1F69" = ("insertText:", "\U1FAD"); /* Compose, NKO LETTER JONA CHA, APOSTROPHE, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
            };
            "\U0028" = {
                "\U07C1" = ("insertText:", "\U1F89"); /* Compose, NKO LETTER JONA CHA, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PROSGEGRAMMENI */
                "\U07C7" = ("insertText:", "\U1F99"); /* Compose, NKO LETTER JONA CHA, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND PROSGEGRAMMENI */
                "\U07D9" = ("insertText:", "\U1FA9"); /* Compose, NKO LETTER JONA CHA, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PROSGEGRAMMENI */
                "\U07E1" = ("insertText:", "\U1F81"); /* Compose, NKO LETTER JONA CHA, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND YPOGEGRAMMENI */
                "\U07E7" = ("insertText:", "\U1F91"); /* Compose, NKO LETTER JONA CHA, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND YPOGEGRAMMENI */
                "\U07F9" = ("insertText:", "\U1FA1"); /* Compose, NKO LETTER JONA CHA, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND YPOGEGRAMMENI */
            };
            "\U0029" = {
                "\U07C1" = ("insertText:", "\U1F88"); /* Compose, NKO LETTER JONA CHA, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PROSGEGRAMMENI */
                "\U07C7" = ("insertText:", "\U1F98"); /* Compose, NKO LETTER JONA CHA, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND PROSGEGRAMMENI */
                "\U07D9" = ("insertText:", "\U1FA8"); /* Compose, NKO LETTER JONA CHA, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PROSGEGRAMMENI */
                "\U07E1" = ("insertText:", "\U1F80"); /* Compose, NKO LETTER JONA CHA, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND YPOGEGRAMMENI */
                "\U07E7" = ("insertText:", "\U1F90"); /* Compose, NKO LETTER JONA CHA, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND YPOGEGRAMMENI */
                "\U07F9" = ("insertText:", "\U1FA0"); /* Compose, NKO LETTER JONA CHA, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND YPOGEGRAMMENI */
            };
            "\U0060" = {
                "\U0028" = {
                    "\U07C1" = ("insertText:", "\U1F8B"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9B"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAB"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F83"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F93"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA3"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
                };
                "\U0029" = {
                    "\U07C1" = ("insertText:", "\U1F8A"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9A"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAA"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F82"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F92"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA2"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
                };
                "\U07E1" = ("insertText:", "\U1FB2"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH VARIA AND YPOGEGRAMMENI */
                "\U07E7" = ("insertText:", "\U1FC2"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH VARIA AND YPOGEGRAMMENI */
                "\U07F9" = ("insertText:", "\U1FF2"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH VARIA AND YPOGEGRAMMENI */
                "\U1F00" = ("insertText:", "\U1F82"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
                "\U1F01" = ("insertText:", "\U1F83"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
                "\U1F08" = ("insertText:", "\U1F8A"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
                "\U1F09" = ("insertText:", "\U1F8B"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
                "\U1F20" = ("insertText:", "\U1F92"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
                "\U1F21" = ("insertText:", "\U1F93"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
                "\U1F28" = ("insertText:", "\U1F9A"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
                "\U1F29" = ("insertText:", "\U1F9B"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
                "\U1F60" = ("insertText:", "\U1FA2"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
                "\U1F61" = ("insertText:", "\U1FA3"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
                "\U1F68" = ("insertText:", "\U1FAA"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
                "\U1F69" = ("insertText:", "\U1FAB"); /* Compose, NKO LETTER JONA CHA, GRAVE ACCENT, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
            };
            "\U007E" = {
                "\U0028" = {
                    "\U07C1" = ("insertText:", "\U1F8F"); /* Compose, NKO LETTER JONA CHA, TILDE, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9F"); /* Compose, NKO LETTER JONA CHA, TILDE, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAF"); /* Compose, NKO LETTER JONA CHA, TILDE, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F87"); /* Compose, NKO LETTER JONA CHA, TILDE, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F97"); /* Compose, NKO LETTER JONA CHA, TILDE, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA7"); /* Compose, NKO LETTER JONA CHA, TILDE, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
                };
                "\U0029" = {
                    "\U07C1" = ("insertText:", "\U1F8E"); /* Compose, NKO LETTER JONA CHA, TILDE, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9E"); /* Compose, NKO LETTER JONA CHA, TILDE, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAE"); /* Compose, NKO LETTER JONA CHA, TILDE, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F86"); /* Compose, NKO LETTER JONA CHA, TILDE, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F96"); /* Compose, NKO LETTER JONA CHA, TILDE, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA6"); /* Compose, NKO LETTER JONA CHA, TILDE, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
                };
                "\U07E1" = ("insertText:", "\U1FB7"); /* Compose, NKO LETTER JONA CHA, TILDE, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PERISPOMENI AND YPOGEGRAMMENI */
                "\U07E7" = ("insertText:", "\U1FC7"); /* Compose, NKO LETTER JONA CHA, TILDE, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PERISPOMENI AND YPOGEGRAMMENI */
                "\U07F9" = ("insertText:", "\U1FF7"); /* Compose, NKO LETTER JONA CHA, TILDE, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F00" = ("insertText:", "\U1F86"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F01" = ("insertText:", "\U1F87"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F08" = ("insertText:", "\U1F8E"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
                "\U1F09" = ("insertText:", "\U1F8F"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
                "\U1F20" = ("insertText:", "\U1F96"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F21" = ("insertText:", "\U1F97"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F28" = ("insertText:", "\U1F9E"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
                "\U1F29" = ("insertText:", "\U1F9F"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
                "\U1F60" = ("insertText:", "\U1FA6"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F61" = ("insertText:", "\U1FA7"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
                "\U1F68" = ("insertText:", "\U1FAE"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
                "\U1F69" = ("insertText:", "\U1FAF"); /* Compose, NKO LETTER JONA CHA, TILDE, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
            };
            "\U00B4" = {
                "\U0028" = {
                    "\U07C1" = ("insertText:", "\U1F8D"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, LEFT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9D"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, LEFT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAD"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F85"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F95"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, LEFT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA5"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, LEFT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                };
                "\U0029" = {
                    "\U07C1" = ("insertText:", "\U1F8C"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, RIGHT PARENTHESIS, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                    "\U07C7" = ("insertText:", "\U1F9C"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, RIGHT PARENTHESIS, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                    "\U07D9" = ("insertText:", "\U1FAC"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                    "\U07E1" = ("insertText:", "\U1F84"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                    "\U07E7" = ("insertText:", "\U1F94"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, RIGHT PARENTHESIS, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                    "\U07F9" = ("insertText:", "\U1FA4"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, RIGHT PARENTHESIS, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                };
                "\U07E1" = ("insertText:", "\U1FB4"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH OXIA AND YPOGEGRAMMENI */
                "\U07E7" = ("insertText:", "\U1FC4"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH OXIA AND YPOGEGRAMMENI */
                "\U07F9" = ("insertText:", "\U1FF4"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH OXIA AND YPOGEGRAMMENI */
                "\U1F00" = ("insertText:", "\U1F84"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                "\U1F01" = ("insertText:", "\U1F85"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                "\U1F08" = ("insertText:", "\U1F8C"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                "\U1F09" = ("insertText:", "\U1F8D"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                "\U1F20" = ("insertText:", "\U1F94"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                "\U1F21" = ("insertText:", "\U1F95"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                "\U1F28" = ("insertText:", "\U1F9C"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                "\U1F29" = ("insertText:", "\U1F9D"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
                "\U1F60" = ("insertText:", "\U1FA4"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
                "\U1F61" = ("insertText:", "\U1FA5"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
                "\U1F68" = ("insertText:", "\U1FAC"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
                "\U1F69" = ("insertText:", "\U1FAD"); /* Compose, NKO LETTER JONA CHA, ACUTE ACCENT, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
            };
            "\U07B1" = ("insertText:", "\U1FB4"); /* Compose, NKO LETTER JONA CHA, THAANA LETTER NAA: GREEK SMALL LETTER ALPHA WITH OXIA AND YPOGEGRAMMENI */
            "\U07B3" = ("insertText:", "\U1FC4"); /* Compose, NKO LETTER JONA CHA, unknown: GREEK SMALL LETTER ETA WITH OXIA AND YPOGEGRAMMENI */
            "\U07BB" = ("insertText:", "\U1FF4"); /* Compose, NKO LETTER JONA CHA, unknown: GREEK SMALL LETTER OMEGA WITH OXIA AND YPOGEGRAMMENI */
            "\U07C1" = ("insertText:", "\U1FBC"); /* Compose, NKO LETTER JONA CHA, NKO DIGIT ONE: GREEK CAPITAL LETTER ALPHA WITH PROSGEGRAMMENI */
            "\U07C7" = ("insertText:", "\U1FCC"); /* Compose, NKO LETTER JONA CHA, NKO DIGIT SEVEN: GREEK CAPITAL LETTER ETA WITH PROSGEGRAMMENI */
            "\U07D9" = ("insertText:", "\U1FFC"); /* Compose, NKO LETTER JONA CHA, NKO LETTER RA: GREEK CAPITAL LETTER OMEGA WITH PROSGEGRAMMENI */
            "\U07E1" = ("insertText:", "\U1FB3"); /* Compose, NKO LETTER JONA CHA, NKO LETTER MA: GREEK SMALL LETTER ALPHA WITH YPOGEGRAMMENI */
            "\U07E7" = ("insertText:", "\U1FC3"); /* Compose, NKO LETTER JONA CHA, NKO LETTER NYA WOLOSO: GREEK SMALL LETTER ETA WITH YPOGEGRAMMENI */
            "\U07F9" = ("insertText:", "\U1FF3"); /* Compose, NKO LETTER JONA CHA, NKO EXCLAMATION MARK: GREEK SMALL LETTER OMEGA WITH YPOGEGRAMMENI */
            "\U1F00" = ("insertText:", "\U1F80"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH PSILI: GREEK SMALL LETTER ALPHA WITH PSILI AND YPOGEGRAMMENI */
            "\U1F01" = ("insertText:", "\U1F81"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH DASIA: GREEK SMALL LETTER ALPHA WITH DASIA AND YPOGEGRAMMENI */
            "\U1F02" = ("insertText:", "\U1F82"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH PSILI AND VARIA: GREEK SMALL LETTER ALPHA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
            "\U1F03" = ("insertText:", "\U1F83"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH DASIA AND VARIA: GREEK SMALL LETTER ALPHA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
            "\U1F04" = ("insertText:", "\U1F84"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA: GREEK SMALL LETTER ALPHA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
            "\U1F05" = ("insertText:", "\U1F85"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA: GREEK SMALL LETTER ALPHA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
            "\U1F06" = ("insertText:", "\U1F86"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH PSILI AND PERISPOMENI: GREEK SMALL LETTER ALPHA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
            "\U1F07" = ("insertText:", "\U1F87"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH DASIA AND PERISPOMENI: GREEK SMALL LETTER ALPHA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
            "\U1F08" = ("insertText:", "\U1F88"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH PSILI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PROSGEGRAMMENI */
            "\U1F09" = ("insertText:", "\U1F89"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH DASIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PROSGEGRAMMENI */
            "\U1F0A" = ("insertText:", "\U1F8A"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH PSILI AND VARIA: GREEK CAPITAL LETTER ALPHA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
            "\U1F0B" = ("insertText:", "\U1F8B"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH DASIA AND VARIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
            "\U1F0C" = ("insertText:", "\U1F8C"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA: GREEK CAPITAL LETTER ALPHA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
            "\U1F0D" = ("insertText:", "\U1F8D"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA: GREEK CAPITAL LETTER ALPHA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
            "\U1F0E" = ("insertText:", "\U1F8E"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH PSILI AND PERISPOMENI: GREEK CAPITAL LETTER ALPHA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
            "\U1F0F" = ("insertText:", "\U1F8F"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ALPHA WITH DASIA AND PERISPOMENI: GREEK CAPITAL LETTER ALPHA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
            "\U1F20" = ("insertText:", "\U1F90"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH PSILI: GREEK SMALL LETTER ETA WITH PSILI AND YPOGEGRAMMENI */
            "\U1F21" = ("insertText:", "\U1F91"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH DASIA: GREEK SMALL LETTER ETA WITH DASIA AND YPOGEGRAMMENI */
            "\U1F22" = ("insertText:", "\U1F92"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH PSILI AND VARIA: GREEK SMALL LETTER ETA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
            "\U1F23" = ("insertText:", "\U1F93"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH DASIA AND VARIA: GREEK SMALL LETTER ETA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
            "\U1F24" = ("insertText:", "\U1F94"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH PSILI AND OXIA: GREEK SMALL LETTER ETA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
            "\U1F25" = ("insertText:", "\U1F95"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH DASIA AND OXIA: GREEK SMALL LETTER ETA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
            "\U1F26" = ("insertText:", "\U1F96"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH PSILI AND PERISPOMENI: GREEK SMALL LETTER ETA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
            "\U1F27" = ("insertText:", "\U1F97"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH DASIA AND PERISPOMENI: GREEK SMALL LETTER ETA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
            "\U1F28" = ("insertText:", "\U1F98"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH PSILI: GREEK CAPITAL LETTER ETA WITH PSILI AND PROSGEGRAMMENI */
            "\U1F29" = ("insertText:", "\U1F99"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH DASIA: GREEK CAPITAL LETTER ETA WITH DASIA AND PROSGEGRAMMENI */
            "\U1F2A" = ("insertText:", "\U1F9A"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH PSILI AND VARIA: GREEK CAPITAL LETTER ETA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
            "\U1F2B" = ("insertText:", "\U1F9B"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH DASIA AND VARIA: GREEK CAPITAL LETTER ETA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
            "\U1F2C" = ("insertText:", "\U1F9C"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA: GREEK CAPITAL LETTER ETA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
            "\U1F2D" = ("insertText:", "\U1F9D"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA: GREEK CAPITAL LETTER ETA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
            "\U1F2E" = ("insertText:", "\U1F9E"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH PSILI AND PERISPOMENI: GREEK CAPITAL LETTER ETA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
            "\U1F2F" = ("insertText:", "\U1F9F"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER ETA WITH DASIA AND PERISPOMENI: GREEK CAPITAL LETTER ETA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
            "\U1F60" = ("insertText:", "\U1FA0"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH PSILI: GREEK SMALL LETTER OMEGA WITH PSILI AND YPOGEGRAMMENI */
            "\U1F61" = ("insertText:", "\U1FA1"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH DASIA: GREEK SMALL LETTER OMEGA WITH DASIA AND YPOGEGRAMMENI */
            "\U1F62" = ("insertText:", "\U1FA2"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH PSILI AND VARIA: GREEK SMALL LETTER OMEGA WITH PSILI AND VARIA AND YPOGEGRAMMENI */
            "\U1F63" = ("insertText:", "\U1FA3"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH DASIA AND VARIA: GREEK SMALL LETTER OMEGA WITH DASIA AND VARIA AND YPOGEGRAMMENI */
            "\U1F64" = ("insertText:", "\U1FA4"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA: GREEK SMALL LETTER OMEGA WITH PSILI AND OXIA AND YPOGEGRAMMENI */
            "\U1F65" = ("insertText:", "\U1FA5"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA: GREEK SMALL LETTER OMEGA WITH DASIA AND OXIA AND YPOGEGRAMMENI */
            "\U1F66" = ("insertText:", "\U1FA6"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH PSILI AND PERISPOMENI: GREEK SMALL LETTER OMEGA WITH PSILI AND PERISPOMENI AND YPOGEGRAMMENI */
            "\U1F67" = ("insertText:", "\U1FA7"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH DASIA AND PERISPOMENI: GREEK SMALL LETTER OMEGA WITH DASIA AND PERISPOMENI AND YPOGEGRAMMENI */
            "\U1F68" = ("insertText:", "\U1FA8"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH PSILI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PROSGEGRAMMENI */
            "\U1F69" = ("insertText:", "\U1FA9"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH DASIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PROSGEGRAMMENI */
            "\U1F6A" = ("insertText:", "\U1FAA"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH PSILI AND VARIA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND VARIA AND PROSGEGRAMMENI */
            "\U1F6B" = ("insertText:", "\U1FAB"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH DASIA AND VARIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND VARIA AND PROSGEGRAMMENI */
            "\U1F6C" = ("insertText:", "\U1FAC"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA: GREEK CAPITAL LETTER OMEGA WITH PSILI AND OXIA AND PROSGEGRAMMENI */
            "\U1F6D" = ("insertText:", "\U1FAD"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA: GREEK CAPITAL LETTER OMEGA WITH DASIA AND OXIA AND PROSGEGRAMMENI */
            "\U1F6E" = ("insertText:", "\U1FAE"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH PSILI AND PERISPOMENI: GREEK CAPITAL LETTER OMEGA WITH PSILI AND PERISPOMENI AND PROSGEGRAMMENI */
            "\U1F6F" = ("insertText:", "\U1FAF"); /* Compose, NKO LETTER JONA CHA, GREEK CAPITAL LETTER OMEGA WITH DASIA AND PERISPOMENI: GREEK CAPITAL LETTER OMEGA WITH DASIA AND PERISPOMENI AND PROSGEGRAMMENI */
            "\U1F70" = ("insertText:", "\U1FB2"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH VARIA: GREEK SMALL LETTER ALPHA WITH VARIA AND YPOGEGRAMMENI */
            "\U1F74" = ("insertText:", "\U1FC2"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH VARIA: GREEK SMALL LETTER ETA WITH VARIA AND YPOGEGRAMMENI */
            "\U1F7C" = ("insertText:", "\U1FF2"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH VARIA: GREEK SMALL LETTER OMEGA WITH VARIA AND YPOGEGRAMMENI */
            "\U1FB6" = ("insertText:", "\U1FB7"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ALPHA WITH PERISPOMENI: GREEK SMALL LETTER ALPHA WITH PERISPOMENI AND YPOGEGRAMMENI */
            "\U1FC6" = ("insertText:", "\U1FC7"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER ETA WITH PERISPOMENI: GREEK SMALL LETTER ETA WITH PERISPOMENI AND YPOGEGRAMMENI */
            "\U1FF6" = ("insertText:", "\U1FF7"); /* Compose, NKO LETTER JONA CHA, GREEK SMALL LETTER OMEGA WITH PERISPOMENI: GREEK SMALL LETTER OMEGA WITH PERISPOMENI AND YPOGEGRAMMENI */
        };
        "\U07EF" = {
            "\U0027" = ("insertText:", "\U03CC"); /* Compose, NKO COMBINING LONG HIGH TONE, APOSTROPHE: GREEK SMALL LETTER OMICRON WITH TONOS */
        };
        "\U07F5" = {
            "\U0022" = ("insertText:", "\U03CB"); /* Compose, NKO LOW TONE APOSTROPHE, QUOTATION MARK: GREEK SMALL LETTER UPSILON WITH DIALYTIKA */
            "\U0027" = ("insertText:", "\U03CD"); /* Compose, NKO LOW TONE APOSTROPHE, APOSTROPHE: GREEK SMALL LETTER UPSILON WITH TONOS */
        };
        "\U07F9" = {
            "\U0027" = ("insertText:", "\U03CE"); /* Compose, NKO EXCLAMATION MARK, APOSTROPHE: GREEK SMALL LETTER OMEGA WITH TONOS */
        };
        "\U08BC" = {
            "\U0338" = ("insertText:", "\U2270"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NEITHER LESS-THAN NOR EQUAL TO */
        };
        "\U08BE" = {
            "\U0338" = ("insertText:", "\U2271"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NEITHER GREATER-THAN NOR EQUAL TO */
        };
        "\U08C8" = {
            "\U0338" = ("insertText:", "\U2247"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NEITHER APPROXIMATELY NOR ACTUALLY EQUAL TO */
        };
        "\U08CF" = {
            "\U0338" = ("insertText:", "\U2262"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NOT IDENTICAL TO */
        };
        "\U08DA" = {
            "\U0338" = ("insertText:", "\U2284"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NOT A SUBSET OF */
        };
        "\U08DB" = {
            "\U0338" = ("insertText:", "\U2285"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NOT A SUPERSET OF */
        };
        "\U093C" = {
            "\U0915" = ("insertText:", "\U0958"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER KA: DEVANAGARI LETTER QA */
            "\U0916" = ("insertText:", "\U0959"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER KHA: DEVANAGARI LETTER KHHA */
            "\U0917" = ("insertText:", "\U095A"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER GA: DEVANAGARI LETTER GHHA */
            "\U091C" = ("insertText:", "\U095B"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER JA: DEVANAGARI LETTER ZA */
            "\U0921" = ("insertText:", "\U095C"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER DDA: DEVANAGARI LETTER DDDHA */
            "\U0922" = ("insertText:", "\U095D"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER DDHA: DEVANAGARI LETTER RHA */
            "\U0928" = ("insertText:", "\U0929"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER NA: DEVANAGARI LETTER NNNA */
            "\U092B" = ("insertText:", "\U095E"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER PHA: DEVANAGARI LETTER FA */
            "\U092F" = ("insertText:", "\U095F"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER YA: DEVANAGARI LETTER YYA */
            "\U0930" = ("insertText:", "\U0931"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER RA: DEVANAGARI LETTER RRA */
            "\U0933" = ("insertText:", "\U0934"); /* Compose, DEVANAGARI SIGN NUKTA, DEVANAGARI LETTER LLA: DEVANAGARI LETTER LLLA */
        };
        "\U09BC" = {
            "\U09A1" = ("insertText:", "\U09DC"); /* Compose, BENGALI SIGN NUKTA, BENGALI LETTER DDA: BENGALI LETTER RRA */
            "\U09A2" = ("insertText:", "\U09DD"); /* Compose, BENGALI SIGN NUKTA, BENGALI LETTER DDHA: BENGALI LETTER RHA */
            "\U09AF" = ("insertText:", "\U09DF"); /* Compose, BENGALI SIGN NUKTA, BENGALI LETTER YA: BENGALI LETTER YYA */
        };
        "\U09C7" = {
            "\U09BE" = ("insertText:", "\U09CB"); /* Compose, BENGALI VOWEL SIGN E, BENGALI VOWEL SIGN AA: BENGALI VOWEL SIGN O */
            "\U09D7" = ("insertText:", "\U09CC"); /* Compose, BENGALI VOWEL SIGN E, BENGALI AU LENGTH MARK: BENGALI VOWEL SIGN AU */
        };
        "\U0A3C" = {
            "\U0A16" = ("insertText:", "\U0A59"); /* Compose, GURMUKHI SIGN NUKTA, GURMUKHI LETTER KHA: GURMUKHI LETTER KHHA */
            "\U0A17" = ("insertText:", "\U0A5A"); /* Compose, GURMUKHI SIGN NUKTA, GURMUKHI LETTER GA: GURMUKHI LETTER GHHA */
            "\U0A1C" = ("insertText:", "\U0A5B"); /* Compose, GURMUKHI SIGN NUKTA, GURMUKHI LETTER JA: GURMUKHI LETTER ZA */
            "\U0A2B" = ("insertText:", "\U0A5E"); /* Compose, GURMUKHI SIGN NUKTA, GURMUKHI LETTER PHA: GURMUKHI LETTER FA */
            "\U0A32" = ("insertText:", "\U0A33"); /* Compose, GURMUKHI SIGN NUKTA, GURMUKHI LETTER LA: GURMUKHI LETTER LLA */
            "\U0A38" = ("insertText:", "\U0A36"); /* Compose, GURMUKHI SIGN NUKTA, GURMUKHI LETTER SA: GURMUKHI LETTER SHA */
        };
        "\U0B3C" = {
            "\U0B21" = ("insertText:", "\U0B5C"); /* Compose, ORIYA SIGN NUKTA, ORIYA LETTER DDA: ORIYA LETTER RRA */
            "\U0B22" = ("insertText:", "\U0B5D"); /* Compose, ORIYA SIGN NUKTA, ORIYA LETTER DDHA: ORIYA LETTER RHA */
        };
        "\U0B47" = {
            "\U0B3E" = ("insertText:", "\U0B4B"); /* Compose, ORIYA VOWEL SIGN E, ORIYA VOWEL SIGN AA: ORIYA VOWEL SIGN O */
            "\U0B56" = ("insertText:", "\U0B48"); /* Compose, ORIYA VOWEL SIGN E, ORIYA AI LENGTH MARK: ORIYA VOWEL SIGN AI */
            "\U0B57" = ("insertText:", "\U0B4C"); /* Compose, ORIYA VOWEL SIGN E, ORIYA AU LENGTH MARK: ORIYA VOWEL SIGN AU */
        };
        "\U0BA3" = {
            "\U0338" = ("insertText:", "\U226E"); /* Compose, TAMIL LETTER NNA, COMBINING LONG SOLIDUS OVERLAY: NOT LESS-THAN */
        };
        "\U0BA6" = {
            "\U0338" = ("insertText:", "\U226F"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NOT GREATER-THAN */
        };
        "\U0BC6" = {
            "\U0028" = ("insertText:", "\U208D"); /* Compose, TAMIL VOWEL SIGN E, LEFT PARENTHESIS: SUBSCRIPT LEFT PARENTHESIS */
            "\U0029" = ("insertText:", "\U208E"); /* Compose, TAMIL VOWEL SIGN E, RIGHT PARENTHESIS: SUBSCRIPT RIGHT PARENTHESIS */
            "\U002B" = ("insertText:", "\U208A"); /* Compose, TAMIL VOWEL SIGN E, PLUS SIGN: SUBSCRIPT PLUS SIGN */
            "\U0030" = ("insertText:", "\U2080"); /* Compose, TAMIL VOWEL SIGN E, DIGIT ZERO: SUBSCRIPT ZERO */
            "\U0031" = ("insertText:", "\U2081"); /* Compose, TAMIL VOWEL SIGN E, DIGIT ONE: SUBSCRIPT ONE */
            "\U0032" = ("insertText:", "\U2082"); /* Compose, TAMIL VOWEL SIGN E, DIGIT TWO: SUBSCRIPT TWO */
            "\U0033" = ("insertText:", "\U2083"); /* Compose, TAMIL VOWEL SIGN E, DIGIT THREE: SUBSCRIPT THREE */
            "\U0034" = ("insertText:", "\U2084"); /* Compose, TAMIL VOWEL SIGN E, DIGIT FOUR: SUBSCRIPT FOUR */
            "\U0035" = ("insertText:", "\U2085"); /* Compose, TAMIL VOWEL SIGN E, DIGIT FIVE: SUBSCRIPT FIVE */
            "\U0036" = ("insertText:", "\U2086"); /* Compose, TAMIL VOWEL SIGN E, DIGIT SIX: SUBSCRIPT SIX */
            "\U0037" = ("insertText:", "\U2087"); /* Compose, TAMIL VOWEL SIGN E, DIGIT SEVEN: SUBSCRIPT SEVEN */
            "\U0038" = ("insertText:", "\U2088"); /* Compose, TAMIL VOWEL SIGN E, DIGIT EIGHT: SUBSCRIPT EIGHT */
            "\U0039" = ("insertText:", "\U2089"); /* Compose, TAMIL VOWEL SIGN E, DIGIT NINE: SUBSCRIPT NINE */
            "\U003D" = ("insertText:", "\U208C"); /* Compose, TAMIL VOWEL SIGN E, EQUALS SIGN: SUBSCRIPT EQUALS SIGN */
            "\U0BBE" = ("insertText:", "\U0BCA"); /* Compose, TAMIL VOWEL SIGN E, TAMIL VOWEL SIGN AA: TAMIL VOWEL SIGN O */
            "\U0BD7" = ("insertText:", "\U0BCC"); /* Compose, TAMIL VOWEL SIGN E, TAMIL AU LENGTH MARK: TAMIL VOWEL SIGN AU */
            "\U2212" = ("insertText:", "\U208B"); /* Compose, TAMIL VOWEL SIGN E, MINUS SIGN: SUBSCRIPT MINUS */
            "\UFF80" = ("insertText:", "\U2082"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH KATAKANA LETTER TA: SUBSCRIPT TWO */
            "\UFFAB" = ("insertText:", "\U208A"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER RIEUL-MIEUM: SUBSCRIPT PLUS SIGN */
            "\UFFB0" = ("insertText:", "\U2080"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER RIEUL-HIEUH: SUBSCRIPT ZERO */
            "\UFFB1" = ("insertText:", "\U2081"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER MIEUM: SUBSCRIPT ONE */
            "\UFFB2" = ("insertText:", "\U2082"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER PIEUP: SUBSCRIPT TWO */
            "\UFFB3" = ("insertText:", "\U2083"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER SSANGPIEUP: SUBSCRIPT THREE */
            "\UFFB4" = ("insertText:", "\U2084"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER PIEUP-SIOS: SUBSCRIPT FOUR */
            "\UFFB5" = ("insertText:", "\U2085"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER SIOS: SUBSCRIPT FIVE */
            "\UFFB6" = ("insertText:", "\U2086"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER SSANGSIOS: SUBSCRIPT SIX */
            "\UFFB7" = ("insertText:", "\U2087"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER IEUNG: SUBSCRIPT SEVEN */
            "\UFFB8" = ("insertText:", "\U2088"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER CIEUC: SUBSCRIPT EIGHT */
            "\UFFB9" = ("insertText:", "\U2089"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER SSANGCIEUC: SUBSCRIPT NINE */
            "\UFFBD" = ("insertText:", "\U208C"); /* Compose, TAMIL VOWEL SIGN E, HALFWIDTH HANGUL LETTER PHIEUPH: SUBSCRIPT EQUALS SIGN */
        };
        "\U0BC7" = {
            "\U0BBE" = ("insertText:", "\U0BCB"); /* Compose, TAMIL VOWEL SIGN EE, TAMIL VOWEL SIGN AA: TAMIL VOWEL SIGN OO */
        };
        "\U0BD7" = {
            "\U0B92" = ("insertText:", "\U0B94"); /* Compose, TAMIL AU LENGTH MARK, TAMIL LETTER O: TAMIL LETTER AU */
        };
        "\U0BD8" = {
            "\U0338" = ("insertText:", "\U2285"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NOT A SUPERSET OF */
        };
        "\U0BDA" = {
            "\U0338" = ("insertText:", "\U2284"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: NOT A SUBSET OF */
        };
        "\U0BFC" = {
            "\U0338" = ("insertText:", "\U22AC"); /* Compose, unknown, COMBINING LONG SOLIDUS OVERLAY: DOES NOT PROVE */
        };
        "\U0C46" = {
            "\U0C56" = ("insertText:", "\U0C48"); /* Compose, TELUGU VOWEL SIGN E, TELUGU AI LENGTH MARK: TELUGU VOWEL SIGN AI */
        };
        "\U0CBF" = {
            "\U0CD5" = ("insertText:", "\U0CC0"); /* Compose, KANNADA VOWEL SIGN I, KANNADA LENGTH MARK: KANNADA VOWEL SIGN II */
        };
        "\U0CC6" = {
            "\U0CC2" = ("insertText:", "\U0CCA"); /* Compose, KANNADA VOWEL SIGN E, KANNADA VOWEL SIGN UU: KANNADA VOWEL SIGN O */
            "\U0CD5" = ("insertText:", "\U0CC7"); /* Compose, KANNADA VOWEL SIGN E, KANNADA LENGTH MARK: KANNADA VOWEL SIGN EE */
            "\U0CD6" = ("insertText:", "\U0CC8"); /* Compose, KANNADA VOWEL SIGN E, KANNADA AI LENGTH MARK: KANNADA VOWEL SIGN AI */
        };
        "\U0CCA" = {
            "\U0CD5" = ("insertText:", "\U0CCB"); /* Compose, KANNADA VOWEL SIGN O, KANNADA LENGTH MARK: KANNADA VOWEL SIGN OO */
        };
        "\U0D46" = {
            "\U0D3E" = ("insertText:", "\U0D4A"); /* Compose, MALAYALAM VOWEL SIGN E, MALAYALAM VOWEL SIGN AA: MALAYALAM VOWEL SIGN O */
            "\U0D57" = ("insertText:", "\U0D4C"); /* Compose, MALAYALAM VOWEL SIGN E, MALAYALAM AU LENGTH MARK: MALAYALAM VOWEL SIGN AU */
        };
        "\U0D47" = {
            "\U0D3E" = ("insertText:", "\U0D4B"); /* Compose, MALAYALAM VOWEL SIGN EE, MALAYALAM VOWEL SIGN AA: MALAYALAM VOWEL SIGN OO */
        };
        "\U0DD9" = {
            "\U0DCA" = ("insertText:", "\U0DDA"); /* Compose, SINHALA VOWEL SIGN KOMBUVA, SINHALA SIGN AL-LAKUNA: SINHALA VOWEL SIGN DIGA KOMBUVA */
            "\U0DCF" = ("insertText:", "\U0DDC"); /* Compose, SINHALA VOWEL SIGN KOMBUVA, SINHALA VOWEL SIGN AELA-PILLA: SINHALA VOWEL SIGN KOMBUVA HAA AELA-PILLA */
            "\U0DDF" = ("insertText:", "\U0DDE"); /* Compose, SINHALA VOWEL SIGN KOMBUVA, SINHALA VOWEL SIGN GAYANUKITTA: SINHALA VOWEL SIGN KOMBUVA HAA GAYANUKITTA */
        };
        "\U0DDC" = {
            "\U0DCA" = ("insertText:", "\U0DDD"); /* Compose, SINHALA VOWEL SIGN KOMBUVA HAA AELA-PILLA, SINHALA SIGN AL-LAKUNA: SINHALA VOWEL SIGN KOMBUVA HAA DIGA AELA-PILLA */
        };
        "\U0F71" = {
            "\U0F72" = ("insertText:", "\U0F73"); /* Compose, TIBETAN VOWEL SIGN AA, TIBETAN VOWEL SIGN I: TIBETAN VOWEL SIGN II */
            "\U0F74" = ("insertText:", "\U0F75"); /* Compose, TIBETAN VOWEL SIGN AA, TIBETAN VOWEL SIGN U: TIBETAN VOWEL SIGN UU */
            "\U0F80" = ("insertText:", "\U0F81"); /* Compose, TIBETAN VOWEL SIGN AA, TIBETAN VOWEL SIGN REVERSED I: TIBETAN VOWEL SIGN REVERSED II */
        };
        "\U0F90" = {
            "\U0FB5" = ("insertText:", "\U0FB9"); /* Compose, TIBETAN SUBJOINED LETTER KA, TIBETAN SUBJOINED LETTER SSA: TIBETAN SUBJOINED LETTER KSSA */
        };
        "\U0F92" = {
            "\U0FB7" = ("insertText:", "\U0F93"); /* Compose, TIBETAN SUBJOINED LETTER GA, TIBETAN SUBJOINED LETTER HA: TIBETAN SUBJOINED LETTER GHA */
        };
        "\U0F9C" = {
            "\U0FB7" = ("insertText:", "\U0F9D"); /* Compose, TIBETAN SUBJOINED LETTER DDA, TIBETAN SUBJOINED LETTER HA: TIBETAN SUBJOINED LETTER DDHA */
        };
        "\U0FA1" = {
            "\U0FB7" = ("insertText:", "\U0FA2"); /* Compose, TIBETAN SUBJOINED LETTER DA, TIBETAN SUBJOINED LETTER HA: TIBETAN SUBJOINED LETTER DHA */
        };
        "\U0FA6" = {
            "\U0FB7" = ("insertText:", "\U0FA7"); /* Compose, TIBETAN SUBJOINED LETTER BA, TIBETAN SUBJOINED LETTER HA: TIBETAN SUBJOINED LETTER BHA */
        };
        "\U0FAB" = {
            "\U0FB7" = ("insertText:", "\U0FAC"); /* Compose, TIBETAN SUBJOINED LETTER DZA, TIBETAN SUBJOINED LETTER HA: TIBETAN SUBJOINED LETTER DZHA */
        };
        "\U0FB2" = {
            "\U0F80" = ("insertText:", "\U0F76"); /* Compose, TIBETAN SUBJOINED LETTER RA, TIBETAN VOWEL SIGN REVERSED I: TIBETAN VOWEL SIGN VOCALIC R */
        };
        "\U0FB3" = {
            "\U0F80" = ("insertText:", "\U0F78"); /* Compose, TIBETAN SUBJOINED LETTER LA, TIBETAN VOWEL SIGN REVERSED I: TIBETAN VOWEL SIGN VOCALIC L */
        };
        "\U0FB5" = {
            "\U0F40" = ("insertText:", "\U0F69"); /* Compose, TIBETAN SUBJOINED LETTER SSA, TIBETAN LETTER KA: TIBETAN LETTER KSSA */
        };
        "\U0FB7" = {
            "\U0F42" = ("insertText:", "\U0F43"); /* Compose, TIBETAN SUBJOINED LETTER HA, TIBETAN LETTER GA: TIBETAN LETTER GHA */
            "\U0F4C" = ("insertText:", "\U0F4D"); /* Compose, TIBETAN SUBJOINED LETTER HA, TIBETAN LETTER DDA: TIBETAN LETTER DDHA */
            "\U0F51" = ("insertText:", "\U0F52"); /* Compose, TIBETAN SUBJOINED LETTER HA, TIBETAN LETTER DA: TIBETAN LETTER DHA */
            "\U0F56" = ("insertText:", "\U0F57"); /* Compose, TIBETAN SUBJOINED LETTER HA, TIBETAN LETTER BA: TIBETAN LETTER BHA */
            "\U0F5B" = ("insertText:", "\U0F5C"); /* Compose, TIBETAN SUBJOINED LETTER HA, TIBETAN LETTER DZA: TIBETAN LETTER DZHA */
        };
        "\U102E" = {
            "\U1025" = ("insertText:", "\U1026"); /* Compose, MYANMAR VOWEL SIGN II, MYANMAR LETTER U: MYANMAR LETTER UU */
        };
        "\U1100" = {
            "\U1100" = ("insertText:", "\U1101"); /* Compose, HANGUL CHOSEONG KIYEOK, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG SSANGKIYEOK */
        };
        "\U1102" = {
            "\U1100" = ("insertText:", "\U1113"); /* Compose, HANGUL CHOSEONG NIEUN, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG NIEUN-KIYEOK */
            "\U1102" = ("insertText:", "\U1114"); /* Compose, HANGUL CHOSEONG NIEUN, HANGUL CHOSEONG NIEUN: HANGUL CHOSEONG SSANGNIEUN */
            "\U1103" = ("insertText:", "\U1115"); /* Compose, HANGUL CHOSEONG NIEUN, HANGUL CHOSEONG TIKEUT: HANGUL CHOSEONG NIEUN-TIKEUT */
            "\U1107" = ("insertText:", "\U1116"); /* Compose, HANGUL CHOSEONG NIEUN, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG NIEUN-PIEUP */
        };
        "\U1103" = {
            "\U1100" = ("insertText:", "\U1117"); /* Compose, HANGUL CHOSEONG TIKEUT, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG TIKEUT-KIYEOK */
            "\U1103" = ("insertText:", "\U1104"); /* Compose, HANGUL CHOSEONG TIKEUT, HANGUL CHOSEONG TIKEUT: HANGUL CHOSEONG SSANGTIKEUT */
        };
        "\U1105" = {
            "\U1102" = ("insertText:", "\U1118"); /* Compose, HANGUL CHOSEONG RIEUL, HANGUL CHOSEONG NIEUN: HANGUL CHOSEONG RIEUL-NIEUN */
            "\U1105" = ("insertText:", "\U1119"); /* Compose, HANGUL CHOSEONG RIEUL, HANGUL CHOSEONG RIEUL: HANGUL CHOSEONG SSANGRIEUL */
            "\U110B" = ("insertText:", "\U111B"); /* Compose, HANGUL CHOSEONG RIEUL, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG KAPYEOUNRIEUL */
            "\U1112" = ("insertText:", "\U111A"); /* Compose, HANGUL CHOSEONG RIEUL, HANGUL CHOSEONG HIEUH: HANGUL CHOSEONG RIEUL-HIEUH */
        };
        "\U1106" = {
            "\U1107" = ("insertText:", "\U111C"); /* Compose, HANGUL CHOSEONG MIEUM, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG MIEUM-PIEUP */
            "\U110B" = ("insertText:", "\U111D"); /* Compose, HANGUL CHOSEONG MIEUM, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG KAPYEOUNMIEUM */
        };
        "\U1107" = {
            "\U1100" = ("insertText:", "\U111E"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG PIEUP-KIYEOK */
            "\U1102" = ("insertText:", "\U111F"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG NIEUN: HANGUL CHOSEONG PIEUP-NIEUN */
            "\U1103" = ("insertText:", "\U1120"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG TIKEUT: HANGUL CHOSEONG PIEUP-TIKEUT */
            "\U1107" = ("insertText:", "\U1108"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG SSANGPIEUP */
            "\U1109" = ("insertText:", "\U1121"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG SIOS: HANGUL CHOSEONG PIEUP-SIOS */
            "\U110A" = ("insertText:", "\U1125"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG SSANGSIOS: HANGUL CHOSEONG PIEUP-SSANGSIOS */
            "\U110B" = ("insertText:", "\U112B"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG KAPYEOUNPIEUP */
            "\U110C" = ("insertText:", "\U1127"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG CIEUC: HANGUL CHOSEONG PIEUP-CIEUC */
            "\U110E" = ("insertText:", "\U1128"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG CHIEUCH: HANGUL CHOSEONG PIEUP-CHIEUCH */
            "\U1110" = ("insertText:", "\U1129"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG THIEUTH: HANGUL CHOSEONG PIEUP-THIEUTH */
            "\U1111" = ("insertText:", "\U112A"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG PHIEUPH: HANGUL CHOSEONG PIEUP-PHIEUPH */
            "\U112B" = ("insertText:", "\U112C"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG KAPYEOUNPIEUP: HANGUL CHOSEONG KAPYEOUNSSANGPIEUP */
            "\U112D" = ("insertText:", "\U1122"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG SIOS-KIYEOK: HANGUL CHOSEONG PIEUP-SIOS-KIYEOK */
            "\U112F" = ("insertText:", "\U1123"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG SIOS-TIKEUT: HANGUL CHOSEONG PIEUP-SIOS-TIKEUT */
            "\U1132" = ("insertText:", "\U1124"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG SIOS-PIEUP: HANGUL CHOSEONG PIEUP-SIOS-PIEUP */
            "\U1136" = ("insertText:", "\U1126"); /* Compose, HANGUL CHOSEONG PIEUP, HANGUL CHOSEONG SIOS-CIEUC: HANGUL CHOSEONG PIEUP-SIOS-CIEUC */
        };
        "\U1108" = {
            "\U110B" = ("insertText:", "\U112C"); /* Compose, HANGUL CHOSEONG SSANGPIEUP, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG KAPYEOUNSSANGPIEUP */
        };
        "\U1109" = {
            "\U1100" = ("insertText:", "\U112D"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG SIOS-KIYEOK */
            "\U1102" = ("insertText:", "\U112E"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG NIEUN: HANGUL CHOSEONG SIOS-NIEUN */
            "\U1103" = ("insertText:", "\U112F"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG TIKEUT: HANGUL CHOSEONG SIOS-TIKEUT */
            "\U1105" = ("insertText:", "\U1130"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG RIEUL: HANGUL CHOSEONG SIOS-RIEUL */
            "\U1106" = ("insertText:", "\U1131"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG MIEUM: HANGUL CHOSEONG SIOS-MIEUM */
            "\U1107" = ("insertText:", "\U1132"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG SIOS-PIEUP */
            "\U1109" = ("insertText:", "\U110A"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG SIOS: HANGUL CHOSEONG SSANGSIOS */
            "\U110A" = ("insertText:", "\U1134"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG SSANGSIOS: HANGUL CHOSEONG SIOS-SSANGSIOS */
            "\U110B" = ("insertText:", "\U1135"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG SIOS-IEUNG */
            "\U110C" = ("insertText:", "\U1136"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG CIEUC: HANGUL CHOSEONG SIOS-CIEUC */
            "\U110E" = ("insertText:", "\U1137"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG CHIEUCH: HANGUL CHOSEONG SIOS-CHIEUCH */
            "\U110F" = ("insertText:", "\U1138"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG KHIEUKH: HANGUL CHOSEONG SIOS-KHIEUKH */
            "\U1110" = ("insertText:", "\U1139"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG THIEUTH: HANGUL CHOSEONG SIOS-THIEUTH */
            "\U1111" = ("insertText:", "\U113A"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG PHIEUPH: HANGUL CHOSEONG SIOS-PHIEUPH */
            "\U1112" = ("insertText:", "\U113B"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG HIEUH: HANGUL CHOSEONG SIOS-HIEUH */
            "\U111E" = ("insertText:", "\U1133"); /* Compose, HANGUL CHOSEONG SIOS, HANGUL CHOSEONG PIEUP-KIYEOK: HANGUL CHOSEONG SIOS-PIEUP-KIYEOK */
        };
        "\U110A" = {
            "\U1109" = ("insertText:", "\U1134"); /* Compose, HANGUL CHOSEONG SSANGSIOS, HANGUL CHOSEONG SIOS: HANGUL CHOSEONG SIOS-SSANGSIOS */
        };
        "\U110B" = {
            "\U1100" = ("insertText:", "\U1141"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG IEUNG-KIYEOK */
            "\U1103" = ("insertText:", "\U1142"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG TIKEUT: HANGUL CHOSEONG IEUNG-TIKEUT */
            "\U1106" = ("insertText:", "\U1143"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG MIEUM: HANGUL CHOSEONG IEUNG-MIEUM */
            "\U1107" = ("insertText:", "\U1144"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG IEUNG-PIEUP */
            "\U1109" = ("insertText:", "\U1145"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG SIOS: HANGUL CHOSEONG IEUNG-SIOS */
            "\U110B" = ("insertText:", "\U1147"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG SSANGIEUNG */
            "\U110C" = ("insertText:", "\U1148"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG CIEUC: HANGUL CHOSEONG IEUNG-CIEUC */
            "\U110E" = ("insertText:", "\U1149"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG CHIEUCH: HANGUL CHOSEONG IEUNG-CHIEUCH */
            "\U1110" = ("insertText:", "\U114A"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG THIEUTH: HANGUL CHOSEONG IEUNG-THIEUTH */
            "\U1111" = ("insertText:", "\U114B"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG PHIEUPH: HANGUL CHOSEONG IEUNG-PHIEUPH */
            "\U1140" = ("insertText:", "\U1146"); /* Compose, HANGUL CHOSEONG IEUNG, HANGUL CHOSEONG PANSIOS: HANGUL CHOSEONG IEUNG-PANSIOS */
        };
        "\U110C" = {
            "\U110B" = ("insertText:", "\U114D"); /* Compose, HANGUL CHOSEONG CIEUC, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG CIEUC-IEUNG */
            "\U110C" = ("insertText:", "\U110D"); /* Compose, HANGUL CHOSEONG CIEUC, HANGUL CHOSEONG CIEUC: HANGUL CHOSEONG SSANGCIEUC */
        };
        "\U110E" = {
            "\U110F" = ("insertText:", "\U1152"); /* Compose, HANGUL CHOSEONG CHIEUCH, HANGUL CHOSEONG KHIEUKH: HANGUL CHOSEONG CHIEUCH-KHIEUKH */
            "\U1112" = ("insertText:", "\U1153"); /* Compose, HANGUL CHOSEONG CHIEUCH, HANGUL CHOSEONG HIEUH: HANGUL CHOSEONG CHIEUCH-HIEUH */
        };
        "\U1111" = {
            "\U1107" = ("insertText:", "\U1156"); /* Compose, HANGUL CHOSEONG PHIEUPH, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG PHIEUPH-PIEUP */
            "\U110B" = ("insertText:", "\U1157"); /* Compose, HANGUL CHOSEONG PHIEUPH, HANGUL CHOSEONG IEUNG: HANGUL CHOSEONG KAPYEOUNPHIEUPH */
        };
        "\U1112" = {
            "\U1112" = ("insertText:", "\U1158"); /* Compose, HANGUL CHOSEONG HIEUH, HANGUL CHOSEONG HIEUH: HANGUL CHOSEONG SSANGHIEUH */
        };
        "\U1121" = {
            "\U1100" = ("insertText:", "\U1122"); /* Compose, HANGUL CHOSEONG PIEUP-SIOS, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG PIEUP-SIOS-KIYEOK */
            "\U1103" = ("insertText:", "\U1123"); /* Compose, HANGUL CHOSEONG PIEUP-SIOS, HANGUL CHOSEONG TIKEUT: HANGUL CHOSEONG PIEUP-SIOS-TIKEUT */
            "\U1107" = ("insertText:", "\U1124"); /* Compose, HANGUL CHOSEONG PIEUP-SIOS, HANGUL CHOSEONG PIEUP: HANGUL CHOSEONG PIEUP-SIOS-PIEUP */
            "\U1109" = ("insertText:", "\U1125"); /* Compose, HANGUL CHOSEONG PIEUP-SIOS, HANGUL CHOSEONG SIOS: HANGUL CHOSEONG PIEUP-SSANGSIOS */
            "\U110C" = ("insertText:", "\U1126"); /* Compose, HANGUL CHOSEONG PIEUP-SIOS, HANGUL CHOSEONG CIEUC: HANGUL CHOSEONG PIEUP-SIOS-CIEUC */
        };
        "\U1132" = {
            "\U1100" = ("insertText:", "\U1133"); /* Compose, HANGUL CHOSEONG SIOS-PIEUP, HANGUL CHOSEONG KIYEOK: HANGUL CHOSEONG SIOS-PIEUP-KIYEOK */
        };
        "\U113C" = {
            "\U113C" = ("insertText:", "\U113D"); /* Compose, HANGUL CHOSEONG CHITUEUMSIOS, HANGUL CHOSEONG CHITUEUMSIOS: HANGUL CHOSEONG CHITUEUMSSANGSIOS */
        };
        "\U113E" = {
            "\U113E" = ("insertText:", "\U113F"); /* Compose, HANGUL CHOSEONG CEONGCHIEUMSIOS, HANGUL CHOSEONG CEONGCHIEUMSIOS: HANGUL CHOSEONG CEONGCHIEUMSSANGSIOS */
        };
        "\U114E" = {
            "\U114E" = ("insertText:", "\U114F"); /* Compose, HANGUL CHOSEONG CHITUEUMCIEUC, HANGUL CHOSEONG CHITUEUMCIEUC: HANGUL CHOSEONG CHITUEUMSSANGCIEUC */
        };
        "\U1150" = {
            "\U1150" = ("insertText:", "\U1151"); /* Compose, HANGUL CHOSEONG CEONGCHIEUMCIEUC, HANGUL CHOSEONG CEONGCHIEUMCIEUC: HANGUL CHOSEONG CEONGCHIEUMSSANGCIEUC */
        };
        "\U1161" = {
            "\U1169" = ("insertText:", "\U1176"); /* Compose, HANGUL JUNGSEONG A, HANGUL JUNGSEONG O: HANGUL JUNGSEONG A-O */
            "\U116E" = ("insertText:", "\U1177"); /* Compose, HANGUL JUNGSEONG A, HANGUL JUNGSEONG U: HANGUL JUNGSEONG A-U */
            "\U1175" = ("insertText:", "\U1162"); /* Compose, HANGUL JUNGSEONG A, HANGUL JUNGSEONG I: HANGUL JUNGSEONG AE */
        };
        "\U1163" = {
            "\U1169" = ("insertText:", "\U1178"); /* Compose, HANGUL JUNGSEONG YA, HANGUL JUNGSEONG O: HANGUL JUNGSEONG YA-O */
            "\U116D" = ("insertText:", "\U1179"); /* Compose, HANGUL JUNGSEONG YA, HANGUL JUNGSEONG YO: HANGUL JUNGSEONG YA-YO */
            "\U1175" = ("insertText:", "\U1164"); /* Compose, HANGUL JUNGSEONG YA, HANGUL JUNGSEONG I: HANGUL JUNGSEONG YAE */
        };
        "\U1165" = {
            "\U1169" = ("insertText:", "\U117A"); /* Compose, HANGUL JUNGSEONG EO, HANGUL JUNGSEONG O: HANGUL JUNGSEONG EO-O */
            "\U116E" = ("insertText:", "\U117B"); /* Compose, HANGUL JUNGSEONG EO, HANGUL JUNGSEONG U: HANGUL JUNGSEONG EO-U */
            "\U1173" = ("insertText:", "\U117C"); /* Compose, HANGUL JUNGSEONG EO, HANGUL JUNGSEONG EU: HANGUL JUNGSEONG EO-EU */
            "\U1175" = ("insertText:", "\U1166"); /* Compose, HANGUL JUNGSEONG EO, HANGUL JUNGSEONG I: HANGUL JUNGSEONG E */
        };
        "\U1167" = {
            "\U1169" = ("insertText:", "\U117D"); /* Compose, HANGUL JUNGSEONG YEO, HANGUL JUNGSEONG O: HANGUL JUNGSEONG YEO-O */
            "\U116E" = ("insertText:", "\U117E"); /* Compose, HANGUL JUNGSEONG YEO, HANGUL JUNGSEONG U: HANGUL JUNGSEONG YEO-U */
            "\U1175" = ("insertText:", "\U1168"); /* Compose, HANGUL JUNGSEONG YEO, HANGUL JUNGSEONG I: HANGUL JUNGSEONG YE */
        };
        "\U1169" = {
            "\U1161" = ("insertText:", "\U116A"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG A: HANGUL JUNGSEONG WA */
            "\U1162" = ("insertText:", "\U116B"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG AE: HANGUL JUNGSEONG WAE */
            "\U1165" = ("insertText:", "\U117F"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG EO: HANGUL JUNGSEONG O-EO */
            "\U1166" = ("insertText:", "\U1180"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG E: HANGUL JUNGSEONG O-E */
            "\U1168" = ("insertText:", "\U1181"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG YE: HANGUL JUNGSEONG O-YE */
            "\U1169" = ("insertText:", "\U1182"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG O: HANGUL JUNGSEONG O-O */
            "\U116E" = ("insertText:", "\U1183"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG U: HANGUL JUNGSEONG O-U */
            "\U1175" = ("insertText:", "\U116C"); /* Compose, HANGUL JUNGSEONG O, HANGUL JUNGSEONG I: HANGUL JUNGSEONG OE */
        };
        "\U116A" = {
            "\U1175" = ("insertText:", "\U116B"); /* Compose, HANGUL JUNGSEONG WA, HANGUL JUNGSEONG I: HANGUL JUNGSEONG WAE */
        };
        "\U116D" = {
            "\U1163" = ("insertText:", "\U1184"); /* Compose, HANGUL JUNGSEONG YO, HANGUL JUNGSEONG YA: HANGUL JUNGSEONG YO-YA */
            "\U1164" = ("insertText:", "\U1185"); /* Compose, HANGUL JUNGSEONG YO, HANGUL JUNGSEONG YAE: HANGUL JUNGSEONG YO-YAE */
            "\U1167" = ("insertText:", "\U1186"); /* Compose, HANGUL JUNGSEONG YO, HANGUL JUNGSEONG YEO: HANGUL JUNGSEONG YO-YEO */
            "\U1169" = ("insertText:", "\U1187"); /* Compose, HANGUL JUNGSEONG YO, HANGUL JUNGSEONG O: HANGUL JUNGSEONG YO-O */
            "\U1175" = ("insertText:", "\U1188"); /* Compose, HANGUL JUNGSEONG YO, HANGUL JUNGSEONG I: HANGUL JUNGSEONG YO-I */
        };
        "\U116E" = {
            "\U1161" = ("insertText:", "\U1189"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG A: HANGUL JUNGSEONG U-A */
            "\U1162" = ("insertText:", "\U118A"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG AE: HANGUL JUNGSEONG U-AE */
            "\U1165" = ("insertText:", "\U116F"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG EO: HANGUL JUNGSEONG WEO */
            "\U1166" = ("insertText:", "\U1170"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG E: HANGUL JUNGSEONG WE */
            "\U1168" = ("insertText:", "\U118C"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG YE: HANGUL JUNGSEONG U-YE */
            "\U116E" = ("insertText:", "\U118D"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG U: HANGUL JUNGSEONG U-U */
            "\U1175" = ("insertText:", "\U1171"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG I: HANGUL JUNGSEONG WI */
            "\U117C" = ("insertText:", "\U118B"); /* Compose, HANGUL JUNGSEONG U, HANGUL JUNGSEONG EO-EU: HANGUL JUNGSEONG U-EO-EU */
        };
        "\U116F" = {
            "\U1173" = ("insertText:", "\U118B"); /* Compose, HANGUL JUNGSEONG WEO, HANGUL JUNGSEONG EU: HANGUL JUNGSEONG U-EO-EU */
            "\U1175" = ("insertText:", "\U1170"); /* Compose, HANGUL JUNGSEONG WEO, HANGUL JUNGSEONG I: HANGUL JUNGSEONG WE */
        };
        "\U1172" = {
            "\U1161" = ("insertText:", "\U118E"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG A: HANGUL JUNGSEONG YU-A */
            "\U1165" = ("insertText:", "\U118F"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG EO: HANGUL JUNGSEONG YU-EO */
            "\U1166" = ("insertText:", "\U1190"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG E: HANGUL JUNGSEONG YU-E */
            "\U1167" = ("insertText:", "\U1191"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG YEO: HANGUL JUNGSEONG YU-YEO */
            "\U1168" = ("insertText:", "\U1192"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG YE: HANGUL JUNGSEONG YU-YE */
            "\U116E" = ("insertText:", "\U1193"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG U: HANGUL JUNGSEONG YU-U */
            "\U1175" = ("insertText:", "\U1194"); /* Compose, HANGUL JUNGSEONG YU, HANGUL JUNGSEONG I: HANGUL JUNGSEONG YU-I */
        };
        "\U1173" = {
            "\U116E" = ("insertText:", "\U1195"); /* Compose, HANGUL JUNGSEONG EU, HANGUL JUNGSEONG U: HANGUL JUNGSEONG EU-U */
            "\U1173" = ("insertText:", "\U1196"); /* Compose, HANGUL JUNGSEONG EU, HANGUL JUNGSEONG EU: HANGUL JUNGSEONG EU-EU */
            "\U1175" = ("insertText:", "\U1174"); /* Compose, HANGUL JUNGSEONG EU, HANGUL JUNGSEONG I: HANGUL JUNGSEONG YI */
        };
        "\U1174" = {
            "\U116E" = ("insertText:", "\U1197"); /* Compose, HANGUL JUNGSEONG YI, HANGUL JUNGSEONG U: HANGUL JUNGSEONG YI-U */
        };
        "\U1175" = {
            "\U1161" = ("insertText:", "\U1198"); /* Compose, HANGUL JUNGSEONG I, HANGUL JUNGSEONG A: HANGUL JUNGSEONG I-A */
            "\U1163" = ("insertText:", "\U1199"); /* Compose, HANGUL JUNGSEONG I, HANGUL JUNGSEONG YA: HANGUL JUNGSEONG I-YA */
            "\U1169" = ("insertText:", "\U119A"); /* Compose, HANGUL JUNGSEONG I, HANGUL JUNGSEONG O: HANGUL JUNGSEONG I-O */
            "\U116E" = ("insertText:", "\U119B"); /* Compose, HANGUL JUNGSEONG I, HANGUL JUNGSEONG U: HANGUL JUNGSEONG I-U */
            "\U1173" = ("insertText:", "\U119C"); /* Compose, HANGUL JUNGSEONG I, HANGUL JUNGSEONG EU: HANGUL JUNGSEONG I-EU */
            "\U119E" = ("insertText:", "\U119D"); /* Compose, HANGUL JUNGSEONG I, HANGUL JUNGSEONG ARAEA: HANGUL JUNGSEONG I-ARAEA */
        };
        "\U119E" = {
            "\U1165" = ("insertText:", "\U119F"); /* Compose, HANGUL JUNGSEONG ARAEA, HANGUL JUNGSEONG EO: HANGUL JUNGSEONG ARAEA-EO */
            "\U116E" = ("insertText:", "\U11A0"); /* Compose, HANGUL JUNGSEONG ARAEA, HANGUL JUNGSEONG U: HANGUL JUNGSEONG ARAEA-U */
            "\U1175" = ("insertText:", "\U11A1"); /* Compose, HANGUL JUNGSEONG ARAEA, HANGUL JUNGSEONG I: HANGUL JUNGSEONG ARAEA-I */
            "\U119E" = ("insertText:", "\U11A2"); /* Compose, HANGUL JUNGSEONG ARAEA, HANGUL JUNGSEONG ARAEA: HANGUL JUNGSEONG SSANGARAEA */
        };
        "\U11A8" = {
            "\U11A8" = ("insertText:", "\U11A9"); /* Compose, HANGUL JONGSEONG KIYEOK, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG SSANGKIYEOK */
            "\U11AF" = ("insertText:", "\U11C3"); /* Compose, HANGUL JONGSEONG KIYEOK, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG KIYEOK-RIEUL */
            "\U11BA" = ("insertText:", "\U11AA"); /* Compose, HANGUL JONGSEONG KIYEOK, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG KIYEOK-SIOS */
            "\U11E7" = ("insertText:", "\U11C4"); /* Compose, HANGUL JONGSEONG KIYEOK, HANGUL JONGSEONG SIOS-KIYEOK: HANGUL JONGSEONG KIYEOK-SIOS-KIYEOK */
        };
        "\U11AA" = {
            "\U11A8" = ("insertText:", "\U11C4"); /* Compose, HANGUL JONGSEONG KIYEOK-SIOS, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG KIYEOK-SIOS-KIYEOK */
        };
        "\U11AB" = {
            "\U11A8" = ("insertText:", "\U11C5"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG NIEUN-KIYEOK */
            "\U11AE" = ("insertText:", "\U11C6"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG TIKEUT: HANGUL JONGSEONG NIEUN-TIKEUT */
            "\U11BA" = ("insertText:", "\U11C7"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG NIEUN-SIOS */
            "\U11BD" = ("insertText:", "\U11AC"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG CIEUC: HANGUL JONGSEONG NIEUN-CIEUC */
            "\U11C0" = ("insertText:", "\U11C9"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG THIEUTH: HANGUL JONGSEONG NIEUN-THIEUTH */
            "\U11C2" = ("insertText:", "\U11AD"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG HIEUH: HANGUL JONGSEONG NIEUN-HIEUH */
            "\U11EB" = ("insertText:", "\U11C8"); /* Compose, HANGUL JONGSEONG NIEUN, HANGUL JONGSEONG PANSIOS: HANGUL JONGSEONG NIEUN-PANSIOS */
        };
        "\U11AE" = {
            "\U11A8" = ("insertText:", "\U11CA"); /* Compose, HANGUL JONGSEONG TIKEUT, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG TIKEUT-KIYEOK */
            "\U11AF" = ("insertText:", "\U11CB"); /* Compose, HANGUL JONGSEONG TIKEUT, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG TIKEUT-RIEUL */
        };
        "\U11AF" = {
            "\U11A8" = ("insertText:", "\U11B0"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG RIEUL-KIYEOK */
            "\U11AA" = ("insertText:", "\U11CC"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG KIYEOK-SIOS: HANGUL JONGSEONG RIEUL-KIYEOK-SIOS */
            "\U11AB" = ("insertText:", "\U11CD"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG NIEUN: HANGUL JONGSEONG RIEUL-NIEUN */
            "\U11AE" = ("insertText:", "\U11CE"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG TIKEUT: HANGUL JONGSEONG RIEUL-TIKEUT */
            "\U11AF" = ("insertText:", "\U11D0"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG SSANGRIEUL */
            "\U11B7" = ("insertText:", "\U11B1"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG MIEUM: HANGUL JONGSEONG RIEUL-MIEUM */
            "\U11B8" = ("insertText:", "\U11B2"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG PIEUP: HANGUL JONGSEONG RIEUL-PIEUP */
            "\U11B9" = ("insertText:", "\U11D3"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG PIEUP-SIOS: HANGUL JONGSEONG RIEUL-PIEUP-SIOS */
            "\U11BA" = ("insertText:", "\U11B3"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG RIEUL-SIOS */
            "\U11BB" = ("insertText:", "\U11D6"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG SSANGSIOS: HANGUL JONGSEONG RIEUL-SSANGSIOS */
            "\U11BF" = ("insertText:", "\U11D8"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG KHIEUKH: HANGUL JONGSEONG RIEUL-KHIEUKH */
            "\U11C0" = ("insertText:", "\U11B4"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG THIEUTH: HANGUL JONGSEONG RIEUL-THIEUTH */
            "\U11C1" = ("insertText:", "\U11B5"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG PHIEUPH: HANGUL JONGSEONG RIEUL-PHIEUPH */
            "\U11C2" = ("insertText:", "\U11B6"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG HIEUH: HANGUL JONGSEONG RIEUL-HIEUH */
            "\U11DA" = ("insertText:", "\U11D1"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG MIEUM-KIYEOK: HANGUL JONGSEONG RIEUL-MIEUM-KIYEOK */
            "\U11DD" = ("insertText:", "\U11D2"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG MIEUM-SIOS: HANGUL JONGSEONG RIEUL-MIEUM-SIOS */
            "\U11E5" = ("insertText:", "\U11D4"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG PIEUP-HIEUH: HANGUL JONGSEONG RIEUL-PIEUP-HIEUH */
            "\U11E6" = ("insertText:", "\U11D5"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG KAPYEOUNPIEUP: HANGUL JONGSEONG RIEUL-KAPYEOUNPIEUP */
            "\U11EB" = ("insertText:", "\U11D7"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG PANSIOS: HANGUL JONGSEONG RIEUL-PANSIOS */
            "\U11F9" = ("insertText:", "\U11D9"); /* Compose, HANGUL JONGSEONG RIEUL, HANGUL JONGSEONG YEORINHIEUH: HANGUL JONGSEONG RIEUL-YEORINHIEUH */
        };
        "\U11B0" = {
            "\U11BA" = ("insertText:", "\U11CC"); /* Compose, HANGUL JONGSEONG RIEUL-KIYEOK, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG RIEUL-KIYEOK-SIOS */
        };
        "\U11B1" = {
            "\U11A8" = ("insertText:", "\U11D1"); /* Compose, HANGUL JONGSEONG RIEUL-MIEUM, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG RIEUL-MIEUM-KIYEOK */
            "\U11BA" = ("insertText:", "\U11D2"); /* Compose, HANGUL JONGSEONG RIEUL-MIEUM, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG RIEUL-MIEUM-SIOS */
        };
        "\U11B2" = {
            "\U11BA" = ("insertText:", "\U11D3"); /* Compose, HANGUL JONGSEONG RIEUL-PIEUP, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG RIEUL-PIEUP-SIOS */
            "\U11BC" = ("insertText:", "\U11D5"); /* Compose, HANGUL JONGSEONG RIEUL-PIEUP, HANGUL JONGSEONG IEUNG: HANGUL JONGSEONG RIEUL-KAPYEOUNPIEUP */
            "\U11C2" = ("insertText:", "\U11D4"); /* Compose, HANGUL JONGSEONG RIEUL-PIEUP, HANGUL JONGSEONG HIEUH: HANGUL JONGSEONG RIEUL-PIEUP-HIEUH */
        };
        "\U11B3" = {
            "\U11BA" = ("insertText:", "\U11D6"); /* Compose, HANGUL JONGSEONG RIEUL-SIOS, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG RIEUL-SSANGSIOS */
        };
        "\U11B7" = {
            "\U11A8" = ("insertText:", "\U11DA"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG MIEUM-KIYEOK */
            "\U11AF" = ("insertText:", "\U11DB"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG MIEUM-RIEUL */
            "\U11B8" = ("insertText:", "\U11DC"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG PIEUP: HANGUL JONGSEONG MIEUM-PIEUP */
            "\U11BA" = ("insertText:", "\U11DD"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG MIEUM-SIOS */
            "\U11BB" = ("insertText:", "\U11DE"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG SSANGSIOS: HANGUL JONGSEONG MIEUM-SSANGSIOS */
            "\U11BC" = ("insertText:", "\U11E2"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG IEUNG: HANGUL JONGSEONG KAPYEOUNMIEUM */
            "\U11BE" = ("insertText:", "\U11E0"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG CHIEUCH: HANGUL JONGSEONG MIEUM-CHIEUCH */
            "\U11C2" = ("insertText:", "\U11E1"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG HIEUH: HANGUL JONGSEONG MIEUM-HIEUH */
            "\U11EB" = ("insertText:", "\U11DF"); /* Compose, HANGUL JONGSEONG MIEUM, HANGUL JONGSEONG PANSIOS: HANGUL JONGSEONG MIEUM-PANSIOS */
        };
        "\U11B8" = {
            "\U11AF" = ("insertText:", "\U11E3"); /* Compose, HANGUL JONGSEONG PIEUP, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG PIEUP-RIEUL */
            "\U11BA" = ("insertText:", "\U11B9"); /* Compose, HANGUL JONGSEONG PIEUP, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG PIEUP-SIOS */
            "\U11BC" = ("insertText:", "\U11E6"); /* Compose, HANGUL JONGSEONG PIEUP, HANGUL JONGSEONG IEUNG: HANGUL JONGSEONG KAPYEOUNPIEUP */
            "\U11C1" = ("insertText:", "\U11E4"); /* Compose, HANGUL JONGSEONG PIEUP, HANGUL JONGSEONG PHIEUPH: HANGUL JONGSEONG PIEUP-PHIEUPH */
            "\U11C2" = ("insertText:", "\U11E5"); /* Compose, HANGUL JONGSEONG PIEUP, HANGUL JONGSEONG HIEUH: HANGUL JONGSEONG PIEUP-HIEUH */
        };
        "\U11BA" = {
            "\U11A8" = ("insertText:", "\U11E7"); /* Compose, HANGUL JONGSEONG SIOS, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG SIOS-KIYEOK */
            "\U11AE" = ("insertText:", "\U11E8"); /* Compose, HANGUL JONGSEONG SIOS, HANGUL JONGSEONG TIKEUT: HANGUL JONGSEONG SIOS-TIKEUT */
            "\U11AF" = ("insertText:", "\U11E9"); /* Compose, HANGUL JONGSEONG SIOS, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG SIOS-RIEUL */
            "\U11B8" = ("insertText:", "\U11EA"); /* Compose, HANGUL JONGSEONG SIOS, HANGUL JONGSEONG PIEUP: HANGUL JONGSEONG SIOS-PIEUP */
            "\U11BA" = ("insertText:", "\U11BB"); /* Compose, HANGUL JONGSEONG SIOS, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG SSANGSIOS */
        };
        "\U11BC" = {
            "\U11A8" = ("insertText:", "\U11EC"); /* Compose, HANGUL JONGSEONG IEUNG, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG IEUNG-KIYEOK */
            "\U11A9" = ("insertText:", "\U11ED"); /* Compose, HANGUL JONGSEONG IEUNG, HANGUL JONGSEONG SSANGKIYEOK: HANGUL JONGSEONG IEUNG-SSANGKIYEOK */
            "\U11BC" = ("insertText:", "\U11EE"); /* Compose, HANGUL JONGSEONG IEUNG, HANGUL JONGSEONG IEUNG: HANGUL JONGSEONG SSANGIEUNG */
            "\U11BF" = ("insertText:", "\U11EF"); /* Compose, HANGUL JONGSEONG IEUNG, HANGUL JONGSEONG KHIEUKH: HANGUL JONGSEONG IEUNG-KHIEUKH */
        };
        "\U11C1" = {
            "\U11B8" = ("insertText:", "\U11F3"); /* Compose, HANGUL JONGSEONG PHIEUPH, HANGUL JONGSEONG PIEUP: HANGUL JONGSEONG PHIEUPH-PIEUP */
            "\U11BC" = ("insertText:", "\U11F4"); /* Compose, HANGUL JONGSEONG PHIEUPH, HANGUL JONGSEONG IEUNG: HANGUL JONGSEONG KAPYEOUNPHIEUPH */
        };
        "\U11C2" = {
            "\U11AB" = ("insertText:", "\U11F5"); /* Compose, HANGUL JONGSEONG HIEUH, HANGUL JONGSEONG NIEUN: HANGUL JONGSEONG HIEUH-NIEUN */
            "\U11AF" = ("insertText:", "\U11F6"); /* Compose, HANGUL JONGSEONG HIEUH, HANGUL JONGSEONG RIEUL: HANGUL JONGSEONG HIEUH-RIEUL */
            "\U11B7" = ("insertText:", "\U11F7"); /* Compose, HANGUL JONGSEONG HIEUH, HANGUL JONGSEONG MIEUM: HANGUL JONGSEONG HIEUH-MIEUM */
            "\U11B8" = ("insertText:", "\U11F8"); /* Compose, HANGUL JONGSEONG HIEUH, HANGUL JONGSEONG PIEUP: HANGUL JONGSEONG HIEUH-PIEUP */
        };
        "\U11CE" = {
            "\U11C2" = ("insertText:", "\U11CF"); /* Compose, HANGUL JONGSEONG RIEUL-TIKEUT, HANGUL JONGSEONG HIEUH: HANGUL JONGSEONG RIEUL-TIKEUT-HIEUH */
        };
        "\U11DD" = {
            "\U11BA" = ("insertText:", "\U11DE"); /* Compose, HANGUL JONGSEONG MIEUM-SIOS, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG MIEUM-SSANGSIOS */
        };
        "\U11EC" = {
            "\U11A8" = ("insertText:", "\U11ED"); /* Compose, HANGUL JONGSEONG IEUNG-KIYEOK, HANGUL JONGSEONG KIYEOK: HANGUL JONGSEONG IEUNG-SSANGKIYEOK */
        };
        "\U11F0" = {
            "\U11BA" = ("insertText:", "\U11F1"); /* Compose, HANGUL JONGSEONG YESIEUNG, HANGUL JONGSEONG SIOS: HANGUL JONGSEONG YESIEUNG-SIOS */
            "\U11EB" = ("insertText:", "\U11F2"); /* Compose, HANGUL JONGSEONG YESIEUNG, HANGUL JONGSEONG PANSIOS: HANGUL JONGSEONG YESIEUNG-PANSIOS */
        };
        "\U1FBF" = {
            "\U0027" = ("insertText:", "\U1FCE"); /* Compose, GREEK PSILI, APOSTROPHE: GREEK PSILI AND OXIA */
            "\U0060" = ("insertText:", "\U1FCD"); /* Compose, GREEK PSILI, GRAVE ACCENT: GREEK PSILI AND VARIA */
            "\U007E" = ("insertText:", "\U1FCF"); /* Compose, GREEK PSILI, TILDE: GREEK PSILI AND PERISPOMENI */
            "\U00B4" = ("insertText:", "\U1FCE"); /* Compose, GREEK PSILI, ACUTE ACCENT: GREEK PSILI AND OXIA */
        };
        "\U1FFE" = {
            "\U0027" = ("insertText:", "\U1FDE"); /* Compose, GREEK DASIA, APOSTROPHE: GREEK DASIA AND OXIA */
            "\U0060" = ("insertText:", "\U1FDD"); /* Compose, GREEK DASIA, GRAVE ACCENT: GREEK DASIA AND VARIA */
            "\U007E" = ("insertText:", "\U1FDF"); /* Compose, GREEK DASIA, TILDE: GREEK DASIA AND PERISPOMENI */
            "\U00B4" = ("insertText:", "\U1FDE"); /* Compose, GREEK DASIA, ACUTE ACCENT: GREEK DASIA AND OXIA */
        };
        "\U2203" = {
            "\U0338" = ("insertText:", "\U2204"); /* Compose, THERE EXISTS, COMBINING LONG SOLIDUS OVERLAY: THERE DOES NOT EXIST */
        };
        "\U2208" = {
            "\U0338" = ("insertText:", "\U2209"); /* Compose, ELEMENT OF, COMBINING LONG SOLIDUS OVERLAY: NOT AN ELEMENT OF */
        };
        "\U220B" = {
            "\U0338" = ("insertText:", "\U220C"); /* Compose, CONTAINS AS MEMBER, COMBINING LONG SOLIDUS OVERLAY: DOES NOT CONTAIN AS MEMBER */
        };
        "\U2223" = {
            "\U0338" = ("insertText:", "\U2224"); /* Compose, DIVIDES, COMBINING LONG SOLIDUS OVERLAY: DOES NOT DIVIDE */
        };
        "\U2225" = {
            "\U0338" = ("insertText:", "\U2226"); /* Compose, PARALLEL TO, COMBINING LONG SOLIDUS OVERLAY: NOT PARALLEL TO */
        };
        "\U223C" = {
            "\U0338" = ("insertText:", "\U2241"); /* Compose, TILDE OPERATOR, COMBINING LONG SOLIDUS OVERLAY: NOT TILDE */
        };
        "\U2243" = {
            "\U0338" = ("insertText:", "\U2244"); /* Compose, ASYMPTOTICALLY EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NOT ASYMPTOTICALLY EQUAL TO */
        };
        "\U2248" = {
            "\U0338" = ("insertText:", "\U2249"); /* Compose, ALMOST EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NOT ALMOST EQUAL TO */
        };
        "\U224D" = {
            "\U0338" = ("insertText:", "\U226D"); /* Compose, EQUIVALENT TO, COMBINING LONG SOLIDUS OVERLAY: NOT EQUIVALENT TO */
        };
        "\U2272" = {
            "\U0338" = ("insertText:", "\U2274"); /* Compose, LESS-THAN OR EQUIVALENT TO, COMBINING LONG SOLIDUS OVERLAY: NEITHER LESS-THAN NOR EQUIVALENT TO */
        };
        "\U2273" = {
            "\U0338" = ("insertText:", "\U2275"); /* Compose, GREATER-THAN OR EQUIVALENT TO, COMBINING LONG SOLIDUS OVERLAY: NEITHER GREATER-THAN NOR EQUIVALENT TO */
        };
        "\U2276" = {
            "\U0338" = ("insertText:", "\U2278"); /* Compose, LESS-THAN OR GREATER-THAN, COMBINING LONG SOLIDUS OVERLAY: NEITHER LESS-THAN NOR GREATER-THAN */
        };
        "\U2277" = {
            "\U0338" = ("insertText:", "\U2279"); /* Compose, GREATER-THAN OR LESS-THAN, COMBINING LONG SOLIDUS OVERLAY: NEITHER GREATER-THAN NOR LESS-THAN */
        };
        "\U227A" = {
            "\U0338" = ("insertText:", "\U2280"); /* Compose, PRECEDES, COMBINING LONG SOLIDUS OVERLAY: DOES NOT PRECEDE */
        };
        "\U227B" = {
            "\U0338" = ("insertText:", "\U2281"); /* Compose, SUCCEEDS, COMBINING LONG SOLIDUS OVERLAY: DOES NOT SUCCEED */
        };
        "\U227C" = {
            "\U0338" = ("insertText:", "\U22E0"); /* Compose, PRECEDES OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: DOES NOT PRECEDE OR EQUAL */
        };
        "\U227D" = {
            "\U0338" = ("insertText:", "\U22E1"); /* Compose, SUCCEEDS OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: DOES NOT SUCCEED OR EQUAL */
        };
        "\U2286" = {
            "\U0338" = ("insertText:", "\U2288"); /* Compose, SUBSET OF OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NEITHER A SUBSET OF NOR EQUAL TO */
        };
        "\U2287" = {
            "\U0338" = ("insertText:", "\U2289"); /* Compose, SUPERSET OF OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NEITHER A SUPERSET OF NOR EQUAL TO */
        };
        "\U2291" = {
            "\U0338" = ("insertText:", "\U22E2"); /* Compose, SQUARE IMAGE OF OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NOT SQUARE IMAGE OF OR EQUAL TO */
        };
        "\U2292" = {
            "\U0338" = ("insertText:", "\U22E3"); /* Compose, SQUARE ORIGINAL OF OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NOT SQUARE ORIGINAL OF OR EQUAL TO */
        };
        "\U22A8" = {
            "\U0338" = ("insertText:", "\U22AD"); /* Compose, TRUE, COMBINING LONG SOLIDUS OVERLAY: NOT TRUE */
        };
        "\U22A9" = {
            "\U0338" = ("insertText:", "\U22AE"); /* Compose, FORCES, COMBINING LONG SOLIDUS OVERLAY: DOES NOT FORCE */
        };
        "\U22AB" = {
            "\U0338" = ("insertText:", "\U22AF"); /* Compose, DOUBLE VERTICAL BAR DOUBLE RIGHT TURNSTILE, COMBINING LONG SOLIDUS OVERLAY: NEGATED DOUBLE VERTICAL BAR DOUBLE RIGHT TURNSTILE */
        };
        "\U22B2" = {
            "\U0338" = ("insertText:", "\U22EA"); /* Compose, NORMAL SUBGROUP OF, COMBINING LONG SOLIDUS OVERLAY: NOT NORMAL SUBGROUP OF */
        };
        "\U22B3" = {
            "\U0338" = ("insertText:", "\U22EB"); /* Compose, CONTAINS AS NORMAL SUBGROUP, COMBINING LONG SOLIDUS OVERLAY: DOES NOT CONTAIN AS NORMAL SUBGROUP */
        };
        "\U22B4" = {
            "\U0338" = ("insertText:", "\U22EC"); /* Compose, NORMAL SUBGROUP OF OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: NOT NORMAL SUBGROUP OF OR EQUAL TO */
        };
        "\U22B5" = {
            "\U0338" = ("insertText:", "\U22ED"); /* Compose, CONTAINS AS NORMAL SUBGROUP OR EQUAL TO, COMBINING LONG SOLIDUS OVERLAY: DOES NOT CONTAIN AS NORMAL SUBGROUP OR EQUAL */
        };
        "\U2ADD" = {
            "\U0338" = ("insertText:", "\U2ADC"); /* Compose, NONFORKING, COMBINING LONG SOLIDUS OVERLAY: FORKING */
        };
        "\UFFAF" = {
            "\U0044" = ("insertText:", "\U0110"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER D: LATIN CAPITAL LETTER D WITH STROKE */
            "\U0047" = ("insertText:", "\U01E4"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER G: LATIN CAPITAL LETTER G WITH STROKE */
            "\U0048" = ("insertText:", "\U0126"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER H: LATIN CAPITAL LETTER H WITH STROKE */
            "\U0049" = ("insertText:", "\U0197"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER I: LATIN CAPITAL LETTER I WITH STROKE */
            "\U004C" = ("insertText:", "\U0141"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER L: LATIN CAPITAL LETTER L WITH STROKE */
            "\U004F" = ("insertText:", "\U00D8"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER O: LATIN CAPITAL LETTER O WITH STROKE */
            "\U0054" = ("insertText:", "\U0166"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER T: LATIN CAPITAL LETTER T WITH STROKE */
            "\U005A" = ("insertText:", "\U01B5"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN CAPITAL LETTER Z: LATIN CAPITAL LETTER Z WITH STROKE */
            "\U0062" = ("insertText:", "\U0180"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER B: LATIN SMALL LETTER B WITH STROKE */
            "\U0064" = ("insertText:", "\U0111"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER D: LATIN SMALL LETTER D WITH STROKE */
            "\U0067" = ("insertText:", "\U01E5"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER G: LATIN SMALL LETTER G WITH STROKE */
            "\U0068" = ("insertText:", "\U0127"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER H: LATIN SMALL LETTER H WITH STROKE */
            "\U0069" = ("insertText:", "\U0268"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER I: LATIN SMALL LETTER I WITH STROKE */
            "\U006C" = ("insertText:", "\U0142"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER L: LATIN SMALL LETTER L WITH STROKE */
            "\U006F" = ("insertText:", "\U00F8"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER O: LATIN SMALL LETTER O WITH STROKE */
            "\U0074" = ("insertText:", "\U0167"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER T: LATIN SMALL LETTER T WITH STROKE */
            "\U007A" = ("insertText:", "\U01B6"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN SMALL LETTER Z: LATIN SMALL LETTER Z WITH STROKE */
            "\U0294" = ("insertText:", "\U02A1"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LATIN LETTER GLOTTAL STOP: LATIN LETTER GLOTTAL STOP WITH STROKE */
            "\U04AE" = ("insertText:", "\U04B0"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, CYRILLIC CAPITAL LETTER STRAIGHT U: CYRILLIC CAPITAL LETTER STRAIGHT U WITH STROKE */
            "\U04AF" = ("insertText:", "\U04B1"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, CYRILLIC SMALL LETTER STRAIGHT U: CYRILLIC SMALL LETTER STRAIGHT U WITH STROKE */
            "\U06C7" = ("insertText:", "\U0493"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, ARABIC LETTER U: CYRILLIC SMALL LETTER GHE WITH STROKE */
            "\U06CB" = ("insertText:", "\U049F"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, ARABIC LETTER VE: CYRILLIC SMALL LETTER KA WITH STROKE */
            "\U06E7" = ("insertText:", "\U0492"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, ARABIC SMALL HIGH YEH: CYRILLIC CAPITAL LETTER GHE WITH STROKE */
            "\U06EB" = ("insertText:", "\U049E"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, ARABIC EMPTY CENTRE HIGH STOP: CYRILLIC CAPITAL LETTER KA WITH STROKE */
            "\U08FB" = ("insertText:", "\U219A"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, unknown: LEFTWARDS ARROW WITH STROKE */
            "\U08FD" = ("insertText:", "\U219B"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, unknown: RIGHTWARDS ARROW WITH STROKE */
            "\U2194" = ("insertText:", "\U21AE"); /* Compose, HALFWIDTH HANGUL LETTER RIEUL-PHIEUPH, LEFT RIGHT ARROW: LEFT RIGHT ARROW WITH STROKE */
        };
        "\UFFBD" = {
            "\U0338" = ("insertText:", "\U2260"); /* Compose, HALFWIDTH HANGUL LETTER PHIEUPH, COMBINING LONG SOLIDUS OVERLAY: NOT EQUAL TO */
        };
        "\U1D157" = {
            "\U1D165" = ("insertText:", "\U1D15E"); /* Compose, MUSICAL SYMBOL VOID NOTEHEAD, MUSICAL SYMBOL COMBINING STEM: MUSICAL SYMBOL HALF NOTE */
        };
        "\U1D158" = {
            "\U1D165" = ("insertText:", "\U1D15F"); /* Compose, MUSICAL SYMBOL NOTEHEAD BLACK, MUSICAL SYMBOL COMBINING STEM: MUSICAL SYMBOL QUARTER NOTE */
        };
        "\U1D15F" = {
            "\U1D16E" = ("insertText:", "\U1D160"); /* Compose, MUSICAL SYMBOL QUARTER NOTE, MUSICAL SYMBOL COMBINING FLAG-1: MUSICAL SYMBOL EIGHTH NOTE */
            "\U1D16F" = ("insertText:", "\U1D161"); /* Compose, MUSICAL SYMBOL QUARTER NOTE, MUSICAL SYMBOL COMBINING FLAG-2: MUSICAL SYMBOL SIXTEENTH NOTE */
            "\U1D170" = ("insertText:", "\U1D162"); /* Compose, MUSICAL SYMBOL QUARTER NOTE, MUSICAL SYMBOL COMBINING FLAG-3: MUSICAL SYMBOL THIRTY-SECOND NOTE */
            "\U1D171" = ("insertText:", "\U1D163"); /* Compose, MUSICAL SYMBOL QUARTER NOTE, MUSICAL SYMBOL COMBINING FLAG-4: MUSICAL SYMBOL SIXTY-FOURTH NOTE */
            "\U1D172" = ("insertText:", "\U1D164"); /* Compose, MUSICAL SYMBOL QUARTER NOTE, MUSICAL SYMBOL COMBINING FLAG-5: MUSICAL SYMBOL ONE HUNDRED TWENTY-EIGHTH NOTE */
        };
        "\U1D1B9" = {
            "\U1D165" = ("insertText:", "\U1D1BB"); /* Compose, MUSICAL SYMBOL SEMIBREVIS WHITE, MUSICAL SYMBOL COMBINING STEM: MUSICAL SYMBOL MINIMA */
        };
        "\U1D1BA" = {
            "\U1D165" = ("insertText:", "\U1D1BC"); /* Compose, MUSICAL SYMBOL SEMIBREVIS BLACK, MUSICAL SYMBOL COMBINING STEM: MUSICAL SYMBOL MINIMA BLACK */
        };
        "\U1D1BB" = {
            "\U1D16E" = ("insertText:", "\U1D1BD"); /* Compose, MUSICAL SYMBOL MINIMA, MUSICAL SYMBOL COMBINING FLAG-1: MUSICAL SYMBOL SEMIMINIMA WHITE */
            "\U1D16F" = ("insertText:", "\U1D1BF"); /* Compose, MUSICAL SYMBOL MINIMA, MUSICAL SYMBOL COMBINING FLAG-2: MUSICAL SYMBOL FUSA WHITE */
        };
        "\U1D1BC" = {
            "\U1D16E" = ("insertText:", "\U1D1BE"); /* Compose, MUSICAL SYMBOL MINIMA BLACK, MUSICAL SYMBOL COMBINING FLAG-1: MUSICAL SYMBOL SEMIMINIMA BLACK */
            "\U1D16F" = ("insertText:", "\U1D1C0"); /* Compose, MUSICAL SYMBOL MINIMA BLACK, MUSICAL SYMBOL COMBINING FLAG-2: MUSICAL SYMBOL FUSA BLACK */
        };
    };
}

dshensmith

Anonymous (anonymous@undisclosed.example.com) — 2026-03-31T09:04:20+00:00

Why Daniel Shensmith is Wrong

Daniel Shensmith is a barrister-at-law in England and Wales, specialising (as far as I can tell from his professional website) in family law, minor criminal matters and some contract law. On 27th March 2026, he posted a video on YouTube regarding the UK Television Licence.

At 18:10 in that video (he is quite the loquacious presenter, so he does repeat himself quite a bit and his videos can therefore be quite the slog) he said this: “The offence is that you are watching [a live programme of some sort]: that is the wording of the legislation”.

I took exception to that, because that is definitely not the wording of the legislation! The relevant legislation is Section 363 of the Telecommunications Act 2003 which actually states:

A television receiver must not be installed or used unless the installation and use of the receiver is authorised by a licence under this Part.

Installed or used, not “watching” or (as he later goes on to elaborate) “viewing or recording”.

I took exception to him literally claiming “the wording of the legislation is X” when it absolutely is not. I wrote a comment to his video: “how can you completely misrepresent what the legislation says at 18:10 ish? The offence is not watching or viewing. It’s, explicitly, to 'install or use'”. He apparently took exception to the word “misrepresent” there, though I have no idea why: maybe it means something felonious in legal circles? To me it just means “you said it wrong”. If you declared the sky to be green, I'd say you had misrepresented the nature of the sky!

Anyway, he replied to my comment objecting to the word “misrepresent” and then claiming “The key provision is Regulation 9(1) of the Communications (Television Licensing) Regulations 2004, which makes clear that installing or using a television receiver is only caught where it is done *for the purpose of receiving television programme services.*

He actually misrepresents the law again in saying this. The actual regulation in effect today is the 2016 Communications (Television Licensing) (Amendment) Regulations 2016, but as that merely lightly amends and incorporates the 2004 regulation, I'll let the mis-citation pass.

The key part of the 2016 regulation is, however, Regulation 6(1):

(1) Subject to paragraph (2), in Part 4 of the Act (licensing of TV reception), “television receiver” means any apparatus installed or used for the purpose of receiving (whether by means of wireless telegraphy or otherwise (a)any television programme service, or (b)an on-demand programme service which is provided by the BBC, whether or not the apparatus is installed or used for any other purpose.

There are those words “installed or used” again! The word “receiving” also gets a look-in. But at no point are the words “viewing”, “recording” or “watching” used. So Daniel is again wrong to claim the legislation says “X” when it in fact doesn't mention “X” at all.

For reasons known only to Daniel, he decided to release a second video a day later, titled "TV Licensing Myth DEBUNKED", with a thumbnail exclaiming “There's always one!” (the “one” he refers to is me: I was somewhat flattered, as I've never had a video addressed to me personally before!). What the thumbnail and his commentary seems to mean is, “There's always one person who picks me up on my errors and points them out”, but that of course is not what his passive-aggressive presentation purports to say!

In this second video, he goes on a wild ramble involving laptops and people making a cup of tea whilst a live program plays on their tablet: all irrelevant. The “myth” he claims to be debunking is that merely owning a TV is enough to require a licence: something I never suggested to be the case and know for a fact to not be the case. So Lord knows what Daniel was aiming at, but his aim is as good as mine at a game of darts after the 9th pint of the evening.

The question he opens that second video with is, however, worth quoting in full:

Is it true or is it a myth that if you have a TV apparatus that is capable of receiving a live TV signal that you need a TV licence?”

If he'd asked, I'd have told him the answer is emphatically “no”. I never suggested otherwise.

At 1:28, he says “Let me tell you why I said the law says the offence is 'watching or recording live TV', because that is what it means…”. My point here is: it's not what the law says. It's also not only what the law means, as I'll come on to: but at least he's acknowledging at this point that his earlier video was an explanation of what he thinks the law means, not what it actually says. Progress of sorts. As he then says at 1:33 “whether it says [what I claimed it said] word for word or not is another matter”! A nice admission, finally, that what he claimed the law to be was very definitely not “word for word” accurate!

At 1:37, he admits “even the TV Licensing website clarifies that the offence is to 'watch or record' live TV” (emphasis mine). It would perhaps be churlish to point out to a barrister that a website isn't the law. But it isn't, and what the TV Licensing people put on their website to explain to the general public what activities require a licence isn't what the law actually is. But at least he's fessed up where he's getting his wording from!

At 2:39 he gets to the crux of his argument: the 2004 regulation makes using the TV “for the purpose of receiving any television programme” require a licence. He emphasises the “purpose” bit and repeats that at 3:06, finally delivering the punchline at 3:12: “Purpose means intent, it requires intent”.

After this, he gets completely side-tracked onto the matter of laptops, so I won't dissect his second video further at this time. But let me explain why Daniel has completely missed the point.

How does a TV set plug itself into an aerial socket and tune itself to British TV frequencies? My answer to that is: it can't. TV sets these days have an 'initial setup' procedure where you set your country and then get it to auto-tune the frequencies, you first having plugged the TV into the aerial socket by hand. Those are all purposeful actions, done by you. If a TV set is thus configured, deliberately and purposefully, to display live TV, that's all the “purpose” the 2004 and 2016 regulations require.

To be clear: buying a TV does not require a licence. Unpacking the TV does not require a licence. Setting the TV upon a console or table of some sort does not require a licence. Plugging the TV into the power outlet does not require a licence. Even plugging the TV into the aerial socket does not require a licence. But you do all those things and tune the TV set in: licence required, even if you never look at the TV ever again.

So the statute says “install or use”. When Daniel says the offence is “watch or record”, he is talking about the “use” part of the statute. How do you use a TV receiver? By watching what it displays in real-time, or by recording its output to some medium. So yes, absolutely: watch and record are part of what the statute says is “use” and the regulations call “receiving” and “use”. We don't disagree on that at all, in fact.

By limiting his description of what the offence is to 'watch or record', however, he has completely neglected the significance of the 'install' prong of the Act.

Why does that matter? Because, behind walls, curtains and locked doors, I'd argue that it is practically impossible ever to prove that someone 'watched' live TV, beyond a reasonable doubt. Most convictions on that charge are down to self-incrimination, because if you keep your mouth shut about your viewing habits, there's no way anyone could state with certainty what you 'watched'. The 'recording' bit is hard to prove, too: sure, they could seize the USB stick or hard disk you record to -but if it was encrypted? It's not impossible, but it's definitely a hard nut to crack… and probably way more effort for the authorities to go to than a conviction and a few hundred pounds of fine is going to be worth.

The 'install' prong, however, is much easier to 'get you' on: all someone has to do is walk up to your TV set and switch it on. If it displays a live TV programme, the case against you is made out. You can swear until you are blue in the face that you never actually watch live TV, but it won't avail you: because the second prong of the law that Daniel failed to mention means that they don't need to ascertain your actual viewing habits. Your equipment's configuration is sufficient to prove 'intent to view' and 'capability of viewing'. “Installed” is good enough to get you convicted.

I suspect Daniel barked up the wrong tree with me because he thinks I meant “if the TV is capable of receiving live TV, licence required”. I can't imagine why he'd think I meant that, because it's such a vacuous statement. All TV sets, by definition, have the “capability” of receiving live TV. They wouldn't be of much use if they didn't! But that is their “latent” capability: it's what their electronics are inherently capable of. That capability, however, has to be 'actualised' or made manifest by someone plugging it in and tuning it in to appropriate frequencies. My claim is that a TV whose capabilities have been 'actualised' in that way requires a TV Licence. Daniel's mis-statement of the law would suggest it does not. Daniel is wrong on that point, because the law, in black and white, says more than he claimed it says.

Funnily enough, his waffling about using a laptop to receive live TV signals becomes important in this context. A laptop (or computer, phone or tablet) is not inherently capable of receiving live TV signals over the air. They can display live programming by processing a stream of data -but they deal with streams of all sorts of data and there's nothing that makes a Sky News broadcast any different from a Daniel Shensmith YouTube video: it's all just data! My point here is that there can't really be “install” issues with computing devices. They naturally have the ability to display video streams. They do it without any intent on the part of the user: one click and live TV can start displaying. Nothing needs to be especially plugged in. No special aerials are needed. No particular 'tuning' is necessary.

So the law's two-prong approach, of “intent or use”, is really rather cleverly written. For old-fashioned TVs, the “use” prong is very hard to prove, so they'll rely on the “installed” prong. For computers, laptops and tablets it's exactly the opposite way around: intent is non-existent, so they'll have to rely on the “use” part of the offence.

That's actually trivially easy to do for computing devices, though: streaming video requires packets to be sent to a known IP address, for starters. Now, IP addresses are not really specific enough to bang particular individuals up to rights… but they are suggestive. More importantly, however, if you have logged in to iPlayer, they know precisely which account is accessing which exact content. Their terms of service make it plain that you're not supposed to share your login details with anyone else: so if “userX accessed live content”, that's you and you're responsible for it, even if you claim (as Daniel perversely suggests will be a winning argument) you were in the kitchen making a cup of tea at the time.

Non-BBC services that offer live content (such as Amazon Prime Video) also store records of who accessed what content, when: so proving “use” is trivially easy for any on-line source of live content.

You see why I thought it important to state what the law actually is? If you say it's “watch and record”, you've limited it to “use” and proving use of a traditional TV is monstrously hard and might give people a false sense of security. If you say it's “install or use”, you are not only more accurate in terms of the words actually used in the legislation, you're making it clear that the offence has two prongs and you can be skewered on either: traditional TV will probably skewer you more on the “installed” side of things than the “use”; laptops, tablets, phones and computers will probably skewer you on the “use” side of things, rather than the “installed”. The point remains that because it's a two-pronged piece of legislation, they can get you either way.

Daniel Shensmith may be an excellent barrister for all I know. But he's sometimes a lousy communicator (in my opinion, obviously!) and, especially on this occasion, I believe he has missed the very careful way the law has actually been written. No, plugging a TV into the wall has never been and never will be a licensable act: but deliberately tuning it in is (and always has been). It's purposeful and easy to prove and it matters not one whit whether you've actually viewed the results of your careful, deliberate installation. The law says you don't have to have done, to require a licence.

I'll conclude by mentioning that I do own a TV set of the traditional type (if LCDs can really be called 'traditional'! God, I feel old!!). It sits in the Summer House, plugged into an old Mac Mini, with its audio output being fed into an old hi-fi system and a pair of speakers. I can play music on it on a Summer's evening, with Giocoso; I could even watch a movie out there, using Emby. What I can't do is ever watch live TV on it. Why not? Because there's no aerial in the Summer House, so there's no aerial socket to plug it into. What's more, when I ran that TV's 'first setup' routine, I declared I was in Australia: the auto-tuning process it then went off to do resulted in a total wall of snowy white noise, with no possibility of actual program reception. That TV set also has the BBC iPlayer app built-in: it's conceivable that I might be able to watch BBC programme content on it via that mechanism …except I can't, because I deleted my BBC account back in 2018 and if you are unable to log in (“deliberately”) to the BBC, you can't ever view any iPlayer content.

So: a TV set deliberately and intentionally installed in a way to not receive live TV signals; and a deliberate deletion of the one account I'd need to view streaming content from the BBC: I won't be convicted on either the “installed” or “use” prongs of the Act.

In conclusion, Daniel originally mis-stated what the words of the law are. In doubling down on his mis-statement, he limits the application of the law in a way that it's not actually limited to in practice, which is potentially dangerous to his viewers. He clearly doesn't like being corrected or contradicted: his passive-aggressive response to me is indicative of that, at least. But he was wrong and remains so. I've also now blocked his channel on my phone, as it's pointless listening to someone claiming to explain the law when he can't even state it accurately… or spot the nuance and import of how it is actually written.

howtopro

Anonymous (anonymous@undisclosed.example.com) — 2025-10-28T09:15:23+00:00

Build a Giocoso Pro Server on Arch

1.0 Introduction

Giocoso Pro is the name given to a MySQL (or MariaDB) database that provides details of what music files exist and what plays of them have taken place, shared amongst all your computing devices that might be involved in playing classical music. It is a very lightweight implementation of a relational database, with just two tables and not a lot of relations between them! Running such a database therefore requires very little in the way of hardware resources: it's recommended to have a dual core CPU, 2GB of RAM and 20GB of hard disk space, though more of any of these resources is always handy

Since it is a server, there is no need for a fancy graphical desktop to make things look 'nice': a Linux distro that provides the bare minimum of computing capabilities whilst managing to run the database is all that is really required -and that makes Arch an ideal distro for implementing Giocoso Pro, because it starts out about as barebones an operating system as it's possible to get. You choose what to add to it (not much, as it turns out!) and the end result remains extremely minimalist, yet fully functional. As such, this article sort-of reproduces my earlier article on how to build an Arch desktop, but simplifies things dramatically, as no desktop environment is involved.

2.0 The Basics

I built what follows in VMware Workstation as a virtual machine, with:

4096 MB of virtual RAM
2 virtual CPUs
20GB virtual hard disk

Those are above-minimum specs and I could certainly have halved the RAM allocation without too much drama. It's still fairly lightweight, however. If I were doing this on one of the spare physical machines I have sitting around in my loft, my 2011-vintage Dell desktop PC with an Intel i3 CPU, 4GB of total RAM and a 60GB solid state hard drive would work perfectly well.

The virtual machine version is configured to use bridged networking, as it will need to be able to connect to the Internet -and, of course, as a Giocoso Pro machine, client music-playing devices will want to be able to connect to it!

I obtained my Arch Linux installation medium from here, specifically the archlinux-2025.01.01-x86_64.iso file, via the torrent link provided on that page.

3.0 Getting Started

When you first boot your PC or virtual machine, you'll see this boot menu:

The top menu option is the correct option to take: either let the automatic boot countdown time itself out or press [Enter] to accept the top menu selection. This will trigger the display of a pile of unintelligible messages, at the end of which you are somewhat unceremoniously dumped at a command prompt, logged in as root:

Everything from this point on consists of typing some textual commands in order to get the operating system installed on your computer -and ensuring you type them correctly!

4.0 Initial Steps

4.1 Keyboard Selection

Arch assumes you are using a standard US keyboard. If that's not true for you, you'll need to tell it what keyboard you're actually using. Type the following command:

ls /usr/share/kbd/keymaps/**/*.map.gz | less

…and a long list of available keyboard mappings will be displayed, one page at a time (tap 'q' to quit back to the command prompt at any time). Read the list carefully until you see the one you need. The bit you need to take note of is the last part of the file name, but ignoring the “.map.gz” extension. So, a Spanish keyboard would probably be listed under 'es' for 'España'; an Italian one under 'it' and so on. The standard UK Qwerty keymap is listed as 'uk.map.gz', so lopping off the extension, you arrive at plain 'uk'. Knowing that, issue the loadkeys command:

loadkeys uk

You can then tap some keys on your keyboard to validate that you've selected the correct keymap.

4.2 Prepare the Hard Disk

You next need to know what hard disk(s) you've got and onto which one you'll be installing the operating system. Type the command:

fdisk -l

…and you'll see output such as this one:

This tells me I have one real hard disk (things called /dev/loop are 'fake' devices that can be ignored) called /dev/sda: I can tell that's the 'right' device identifier because the display tells me it's 20GB big, which is the hard disk size I was expecting. You replace '/dev/sda' in everything that follows with the device identifier that is displayed for your hard disks.

Knowing the device identifier for your hard disk, we now need to parttition it (i.e., carve out usable space from it) and write a file system onto it. The command to do that is:

fdisk /dev/sda

That takes you into the fdisk utility where it unhelpfully sits there prompting you to type a 'command' of some sort. These are issued by typing individual letters. The key sequence you need to supply now is as follows:

n
p
[Enter] [Enter] [Enter]
w

That creates you a new primary partition, accepting the defaults for its size and location on the disk, and writing those configuration details to disk, so they actually take effect: congratulations, you now have a new partition on the hard drive, called /dev/sda1 (notice the '1' gets appended to the base device identifier, to indicate that it's the first partition (and the only one, as it happens) on this disk. Once the partitioning is complete, you could do another fdisk -l to confirm that a numbered partition is listed in the output.

Assuming it is, you now need to format it (and I'm only going to use the very unexotic ext4 file system to do so), using the command:

mkfs.ext4 /dev/sda1

That command should complete relatively quickly and at this point you now have a usable hard disk onto which we can install the Arch operating system and software itself.

We finish up this stage of proceedings by mounting (i.e., 'attaching') the new hard drive partition into a folder, allowing us to write to it by directing things 'into' that folder. The command to do that is simply:

mount /dev/sda1 /mnt

…and this means that if we were to store or write anything into /mnt, we'll be writing onto the physical hard drive we've just formatted.

4.3 Installing the Operating System

The command to fetch the operating system files from the Internet and copy them into /mnt is:

pacstrap /mnt base linux linux-firmware nano sudo make wget gcc binutils bc networkmanager inetutils man coreutils

That triggers a lot of activity:

Around 600MB of files are now downloaded from the Internet and written into various sub-folders within the /mnt folder. The process should be entirely automatic, so be patient and just let the process complete in its own good time. Should your network connection fail for any reason, don't panic: just re-issue the same pacstrap command again once normal network service has been resumed. The process will pick up from where it last reached.

4.4 Post OS-Installation Configuration

At this point, your new operating system is downloaded and installed, but is fundamentally not usable and won't even boot correctly. We need to tweak some things before you can turn the raw install into a usable operating system.

The first thing we need to do is create an fstab so that the new OS knows what drive(s) it's got to mount in the first place. Issue this command:

genfstab -U /mnt >> /mnt/etc/fstab

That's the 'live' Arch system writing into the contents of the /mnt folder, so that what it sees as /mnt/etc/fstab will, eventually, become the new system's actual /etc/fstab.

Everything else we need to tweak cannot really be written 'into' the new operating system from 'outside' like this, however. Instead, we actually have to sort-of 'go into' /mnt and do everything from within that system. The command to do that is:

arch-chroot /mnt

You'll see the start of the command prompt changes to reflect the fact that you are now 'in' /mnt, as though it were your root folder. There are bunch of fairly low-level commands we must now issue to get things 'right'. First, we ought to set the new system's time zone correctly. To find out what time zones even exist, type the command:

timedatectl list-timezones | less

Once you've found one that seems suitable (I'm going for 'Europe/London'!), tap 'q' to quit the listing and then type the command:

timedatectl set-timezone Europe/London

nano /etc/locale.gen

locale-gen

…and you should see confirmation that the correct locale has been generated.

If you had to change your keyboard settings right at the start of proceedings (see Section 4.1 above), then you should configure that keyboard change now, too:

nano /etc/vconsole.conf

…and type in:

KEYMAP=uk

(or whatever keymap you chose back in Section 4.1).

The new operating system now needs to know about its network identity. So, issue this command:

echo stravinsky > /etc/hostname

…to set your new device's hostname to 'stravinsky'. If you want a different name, be my guest and supply it instead -but make sure you replace all future mentions of 'stravinsky' in this article with whatever alternative name you decided upon!

Now, finish things off with:

nano /etc/hosts

Into this mostly-empty file, append the following information:

127.0.0.1 localhost
::1 localhost
127.0.1.1 stravinsky.dizwell.home stravinsky

4.5 Configure Some Users

We're nearly done! We should now set a password for our root user, with the command:

passwd

Type something memorable and complicated twice, when prompted. Don't forget what you supply at this point! Now we move on to creating a non-root user, who I'm calling 'hjr', but substitute in whatever feels more appropriate for you! The commands to give are:

useradd -m -G wheel hjr
passwd hjr

The first command creates a user called 'hjr' and makes him a member of the 'wheel' group for reasons which will shortly become apparent! The second command sets a new password for the new user: follow the prompts and type in a suitable password, twice.

Lastly, type these commands:

export EDITOR=nano
visudo

This will open up the sudoers file inside the nano text editor. Your job is to find the line which reads

%wheel ALL=(ALL:ALL) ALL

and remove the '#' character from the start of that line, so that the line becomes a real, operative one rather than just being commented-out. Press Ctrl+X to exit the editor when ready and then tap 'y' when asked whether you want to 'save the modified buffer': this exit+save is how the edited file will get saved back to disk safely. The new line in the sudoers file means that anyone who is a member of the 'wheel' group can now exercise sudo powers (and thus be the equivalent of root). From the way I created the 'hjr' user earlier, you can see this means that if I log in as hjr, I should be able to issue sudo commands without trouble.

4.6 And finally...

We are almost done!! We just need to make sure that the new operating system knows how to bootstrap itself at boot time. That's done with the commands:

pacman -S grub
grub-install /dev/sda
grub-mkconfig -o /boot/grub/grub.cfg

That installs a boot loader called 'grub', makes it take note of the /dev/sda device that was initialised way back in Section 4.2 and creates a boot configuration which enables the new operating system to boot correctly in future.

At this point, the only thing left to do is to ensure the new PC's network connection comes up properly on subsequent reboots. Issue this command:

systemctl enable NetworkManager.service

And with that done, you can quit the chroot environment we entered earlier and ask for your new PC to reboot:

exit
reboot

You should end up at a command-line login prompt, at which point you can log in as yourself (in my case, as 'hjr').

5.0 Installing Giocoso Pro

Now that you have a working Arch server, it's time to install Giocoso Pro onto it. This basically means downloading a script from this website which (a) installs the MariaDB relational database program; and (b) creates and configures a database suitable to act as a shared Giocoso database. The process, once launched, should be mostly automated: the occasional prompt to supply your password at various points may arise, but otherwise it should be fairly painless.

So, first obtain the Giocoso Pro installation script by typing the command:

wget software.bbritten.com/pro

You then run that script with the command:

bash pro

The script will produce a lot of output, similar to this:

Most of the output can be safely ignored: the key thing to watch out for is that you should see reference to 'mariadb': that's the clue that MariaDB is being installed and configured for you. Once MariaDB is running and configured appropriately, all that is needed is a reboot of the entire server to ensure that MariaDB really does come back up and running automatically afterwards, so type:

reboot

When your PC comes back, log in as yourself and type:

sudo mariadb

…followed by:

show databases;

If MariaDB really is running correctly, you should see this sort of thing:

Notice in the list of databases that there is one called 'giocoso3': that's the proof you need that your Giocoso Pro server is ready to accept connections from client devices. You can then just type exit to get back to a standard command prompt.

6.0 Final Checks from Clients

One final check is probably worth performing: can your client devices actually see and connect to the new Pro server? The way to test that is to switch to using one of those client devices, onto which you've previously installed the MariaDB client software. This command should be typed in a terminal session launched on one such device:

mariadb -u giocoso3 -pgiocoso3 -h 192.168.137.188 -D giocoso3 --skip-ssl

…which means “a user called 'giocoso3' and with a password of 'giocoso3' (notice there's no space between the -p and the password!) wishes to connect to the MariaDB Server running on host 192.168.137.188 and connect to the database called 'giocoso3'”. The response should be something like this:

You'll notice that I threw in a 'show tables;' command there -the result was 'empty set', because no tables actually exist within this database as yet, but the fact that the command produce a response of any sort at all indicates that remote connections to the server are working as intended. To create appropriate tables is the job of the Giocoso Pro initialisation process, which is launched from within Giocoso itself… and which is resolutely outside the scope of this particular article! You should read the Giocoso User Manual for details on how that all works For now, it's sufficient to know that you've got a working Pro server that is able to be used by clients successfully.

7.0 Conclusion

Building an Arch server is not particularly hard, but it is fiddly! There are quite a lot of commands to type, all of which are important, all of which demand being typed in correctly

Once built, however, turning the barebones server into a Giocoso Pro server is a simple matter of downloading the appropriate script and launching it. After that, a simple couple of checks performed both on the server itself and on the client devices that hope to make use of it will hopefully demonstrate that you're in business for running Giocoso in shared database mode.

howtoripansacd

Anonymous (anonymous@undisclosed.example.com) — 2025-10-27T17:37:44+00:00

How to Rip an SACD

1.0 Introduction

Super Audio CD (SACD) was introduced in 1999 (i.e., about 20 years after the original, 'ordinary', CD). It was intended to be the 'next generation' audio format, given its higher fidelity and longer playing times than standard CDs. Unfortunately, those changes from the original CD standard meant that disks using the new format were completely incompatible with 'normal' CD players, which meant that to experience the joys of SACD required the purchase of new (and expensive!) hi-fi kit.

Recognising the marketing disaster that would mean, most record companies produced 'hybrid SACDs': the one physical disk would contain two separate layers, one of which would literally be the same data as you'd previously have stored on a standard audio CD; whilst the second layer would contain the all-new, all-singing, all-dancing high resolution SACD audio data. That would mean a hybrid disk could be played in a standard CD player -but only its standard CD audio layer would be read when doing so. If you wanted access to the hi-res SACD data layer, you still needed to spring for the new, expensive dedicated SACD players …and that's where the costs would start heading skyward! Accordingly, SACD never really took off before it got side-swiped entirely by the download and streaming revolution that basically killed off all physical audio and video formats. New releases of SACDs essentially ended in about 2009, so it was a fairly short-lived audio standard.

However, the classical music industry seems lately to have taken a bit of shine to SACD once more, with quite a few new releases coming out in hybrid SACD/CD format -and, quite often, it's the SACD layer that embodies the results of extensive remastering, whilst the standard CD layer merely contains the same audio that was found on the original CD release. As a result, modern classical music SACDs often sound much better than their accompanying CD layers… if only you could listen to their SACD data! To be clear, however, it is the mastering of the SACD layer that improves the listening experience. Vanishingly few people can hear any difference for the same mastering regardless of whether it's coming from the SACD data layer or the standard CD audio one. Claims to the contrary can be made in writing to the 'I have a £10,000 pair of speaker cables you can buy if you are mad enough' department!

Nevertheless, grabbing that re-mastered SACD data is a desirable thing all on its own -and thus there is a considerable desire in classical music circles to be able to rip their SACD's SACD audio data, in preference to ripping just their standard CD layer. Unfortunately, ripping an SACD is not much easier than playing them ever was: it requires special hardware and software, for starters. Rather more seriously, however, in my view, is the fact that all the descriptions I've ever seen on how to rip SACDs around the Internet consist of half-explained procedures spread out over hundreds of pages of forum posts. See, for example, this forum thread which started off promisingly enough as a simplification of other threads that had got too complex and jumbled… but as it now itself consists of 237 (and counting!) 'pages' of information, questions, possible answers and much else (at least as of the time of writing) it has become, frankly, utterly bewildering to try and sort out into a coherent set of easy-to-follow steps!

Having banged my head against that particular brick wall for long enough, I thought I'd better document how I go about ripping my SACDs. To be clear, the steps I outline below are performed, in part, on a Linux desktop PC (Endeavour OS) and were documented as working in October 2024 (though this article first appeared in April 2021: edits concern, mostly, how to convert the output of an SACD rip to usable FLAC format using my Semplice program).

2.0 The Hardware

2.1 The Blu-ray Player

The fundamental problem of ripping or listening to SACDs is the same in either case: you need specialised 'SACD-aware' hardware to understand the physical format and layout of the disks themselves. Back in 1999, those specialised players were forbiddingly expensive. Today, however, we call them 'Blu-ray players' (since Blu-ray was a Sony invention, and SACD was a Sony/Philips joint invention, it should come as no surprise that most Blu-ray players can read and play SACDs)… and, happily, the fact that streaming services have basically killed off all physical audio and video media means that you can pick up second-hand SACD players for just a few tens of pounds or dollars without much difficulty.

Here, for example, is the one I purchased in 2020 from Ebay:

It's a Sony BDP-S490 Blu-ray player, first reviewed in What Hi-Fi way back in November 2012 -so mine was nearly 9 years old at the time of purchase, but even today, four years further on, it functions perfectly and only cost me £60. Prices in 2024 seem, if anything, a little cheaper, at just the £45ish mark. So, if you want to rip SACDs, buy yourself a cheap Blu-ray player… but be warned that it can't be just any old player: only certain models do what we need them to do (which is to basically act as a file server on a home network, allowing ripping software running on your desktop PC to grab data from off the SACD spinning away inside the Blu-ray player). The list of Blu-ray player models that can do this is quite short (and largely consists of Sony players):

Sony

Using the x86 extraction software: BDP-S390, BDP-S490, BDP-S590, BDV-E190, BDP-S4100, BDP-S5100
Using an ARMv7 extraction software: BDP-S6200, BDP-S7200, BDP-S790, BDP-A6000, BDV-NF720, BDP-S6500, UHP-H1

Pioneer

Using the x86 extraction software: BDP-80FD, BDP-160, BDP-170
Using the ARMv7 extraction software: MCS-FS232

Oppo

Using the x86 extraction software: BDP-103 and 103D, BDP-105 and 105D

Cambridge

Using the x86 extraction software: Azur 752BD, CXU

Arcam

FMJ UDP411, FMJ CDS27

Primare

Using the x86 extraction software: BD32 MkII

Electrocompaniet

Using the x86 extraction software: EMP3

Denon

Using the ARMv7 extraction software: DBT-3313UD and 3313UDCI

Yamaha

Using the x86 extraction software: BD-S677

Marantz

Using the ARMv7 extraction software: UD7007

You'll notice that Sony and Pioneer are, by far, the suppliers of the largest number of compatible players. You'll also find that the Sony S390, 490 and 590 players are probably the most abundant and cheaply-bought at second hand models. I have not used any other models than my Sony S490, so I list the other models here because I'm told that they work, but I have no proof that they do, nor any experience of them doing so. (But please see this set of instructions supplied by a kind reader for how to do things on a Sony S390).

You'll also spot from that list that a lot of the players use Intel processor technology, and some (usually the more modern ones) use ARM processors. That makes no difference to the user wanting to play a Blu-ray movie, of course… but it makes a difference later on when it comes to downloading the right software needed to turn your Blu-ray player into a file server.

2.2 The USB Drive

The second hardware component you'll need to acquire is an easy one: a USB-2 thumb drive that has a capacity of at least 2GB (but it can be more if you have a bigger one handy). I stress USB 2.0, not USB 3.0: most of the older Blu-ray players I just listed come with USB sockets that were built way before USB 3.0 was a thing! So, it's best to keep things entirely compatible and old-fashioned. Here's the one I use:

As you can see, it's nothing special. Just a very old, worn, knocked about and, frankly, rather knackered 8GB USB 2.0 thumb drive. I've also used a 4GB equally knackered equivalent, so the drive does not need to be very big at all, nor very fast or expensive! You need to format the thumb drive to be using the FAT32 file system (most thumb drives seem to come supplied that way already, but if you're like me and have used multiple file systems over the years on the same USB drives, you might need to break out the KDE Partition Manager or Gparted to 'make it so'). From mentioning a possible need to partition, I hope it's also clear that you should have nothing stored on the USB drive at this point, and anything that is there should be deleted or removed by the new format operation. You want to start with a blank slate! If you want to put a brand new partition table onto the USB stick to make sure you're starting from the cleanest of clean slates, make sure it's an MS-DOS type, not a GPT one.

2.3 The Home Network

As I've already mentioned in passing, this ripping process will work because your Blu-ray player will turn itself into a sort-of file server, offering its disk caddy and its contents to software running somewhere else on the network to access. For that to happen, your PC needs to be able to communicate with the Blu-ray player over a network of some kind.

The Blu-ray players I'm familiar with have built-in wireless networking and cabled networking (my S490 ships with a standard RJ45 Ethernet port, for example). I would recommend you use the wired networking if at all possible: there's a lot of data on an SACD disk which has to be transported from the player to your PC, so unless your wifi network is fast and completely reliable, wired is just a lot quicker and less hassle to get working.

I rather need to assume you are familiar with the basics of setting up a home network, anyway, because the topic of networking can be a complex and awkward one and is really outside the scope of this article. The simple version is, however, that your PC needs to be able to 'talk' to the Blu-Ray Player over your network -and for that to happen, the two machines need to be assigned compatible IP addresses. You also need to know how your PC resolves web addresses (handled by something called a DNS server) and how it knows how to reach the Internet (handled by something called a Router or a Default Gateway).

The first order of business is, therefore, working out these three pieces of information for the PC or laptop you're already successfully using if you're reading this! In Linux, you will need top open a new terminal and type the command ip addr to find these details:

This requires some careful reading! First of all, ignore anything that mentions 'loopback': it's a weird system internal thing that is of no practical use for our current purposes. So that chunk of data that starts in the above screenshot with '1: lo <LOOPBACK…' can be ignored in its entirety. That immediately means we jump down to the line which starts '2. enp0s25…'. In this case, 'enp0s25' is the delightful name my operating system has assigned my PC's real network card. Other distros might assign different names like 'en0'. Wireless devices will have different styles of name again. The key thing here is that the paragraph of text following this device name tells you the first of the three bits of information we need: in my case, where it says 'inet 192.168…', that's my PC's IP address. So, my PC is identified on the network by the numbers 192.168.137.13.

Additionally, we can tell what netmask I'm using: you'll note that the IP address is actually given as 192.168.137.13/24. That “/24” bit of the address is, indeed, the netmask: it tells the computer what parts of the IP address are usable to uniquely identify computing devices on my network and what parts identify the network in general. Let's back up a bit!

As you can see, an IP address consists of 4 dot-separated numbers (such as 192.168.137.13). Each number in that four-part address is from 0 to 255, so 256 unique values in all -and 256 happens to be a number that can be represented in binary mathematics by 8 digital bits. So a full 4-part IP address is 8bits.8bits.8bits.8bits or 32 bits long in total. The “/24” displayed by the “ip addr” command is really just saying that 24 of those 32 bits are used as the 'domain prefix' part of the address; only the remaining 8 bits (which means up to 256 unique values) are used to describe specific PCs or other computing devices, such as printers or mobile phones, working within that domain.

Now, we can display this exact same information (“24 bits are generic, 8 bits are unique”) in a slightly different way, too: 255.255.255.0. This looks like an IP address with big numbers in it, but it's actually a 'mask' which blocks or reveals bits of a matching IP address: when the mask says 255, it means 'the complete 8 bits behind this part of the mask are blocked'. When the mask says '0', it means 'all 8 bits behind this part of the mask are usable'. In other words, we pair up the IP address and netmask like so:

192.168.137.13
255.255.255.0

…and this tells us that the first three parts of my IP address (the 192.168.137 parts) define my domain (because they are all blocked by the mask), and the last part are addresses that are specific to different devices on my network (because the 0 in the mask lets those last 256 values be visible and usable).

Think of it like a street address: 156 Acacia Avenue. Which part of that is the 'general' address where lots of people live, and which is the specific bit of the address that identifies your house exactly? In this case “192.168.137” identifies my network generically. It means all computing devices I want talking to each other have to use that exact same general address component. But the “13” bit identifies my PC uniquely within that general 'street address'. That means my Blu-Ray player will need an address of 192.168.137.something, but the 'something' must not be '13': that's like having squatters trying to move into your house while you're still trying to live there! Pick another 'house number', therefore: it doesn't matter specific which one you pick (and remember, there are around 256 to choose from), but nothing else must be using the one you decide to pick.

How do you know if an address you want to pick is already in use? You can try to talk to it with the ping command. If it talks back to you, the address is in use; if it says it can't be reached or just refuses to respond, it usually means the address is free to be assigned to some new device (like a Blu-Ray player!). For example:

This tells me that trying to talk to 192.168.137.39 is a waste of time -and therefore strongly implies that address '39' is available for use by some new device I add to the network. On the other hand:

…this tells me that 192.168.137.5 would be a bad choice of address to assign to a new device, because it's clearly already assigned to something: the fact that messages are bouncing back from that address in less than ½ millisecond is clear proof that the '5' address is already in use and able to respond to pings.

For the other two bits of networking information, some additional commands are needed: cat /etc/resolv.conf will tell you how your PC resolves 'wordy addresses' into 'number IP addresses': how 'www.google.com' is turned into the address 142.250.200.4, for example:

In this case, the command reveals that my DNS Server (the thing doing the word-to-number translation) is running on an internal server. I can tell it's internal, because it's using another 192.168.137.something address, like my PC. You may more probably see your network uses someone else's DNS Server to do this job, though: it's common for people to use 8.8.8.8 as a DNS Server (that's the free one provided by Google) or 1.1.1.1 (the free one provided by Cloudflare). You may also see a much more elaborate IP address that isn't an internal one: that will most likely be the DNS server provided by your Internet Service Provider. Whatever it is, make a note of it!

Finally, we need to know how your PC connects to the Internet: the IP address of the box which receives requests for data from within your house and directs, or routes, those requests outside, to the wider Internet. This is your home network's default gateway, the IP address of your router and it's discoverable by typing the command ip route | grep default like so:

In my case, as you see here, my router's internal IP address is 192.168.137.100.

Technically speaking, you only need the IP address range and netmask to get a PC talking to a Blu-ray player: the DNS and Gateway settings are only needed if the Blu-ray player needs to get to the wider Internet. Generally, that's not really needed for SACD ripping -but it's a good idea to make sure your Blu-ray player is using the latest firmware update and Internet access would be required for that, so it's a good thing to know.

So, without this being a proper networking text book, I hope from the above you know how to find your IP address and its netmask; the address of your DNS server; and the address of your Default Gateway. Hopefully, too, you understood the bit about netmasks and how they mean that only part of an IP address identifies devices specifically and the rest identifies 'the street' generally: and armed with that knowledge, you'll have been able to pick an address which your Blu-Ray player can use when it needs to -and how you know that address hasn't already been assigned to some other device on your network, because you know how to ping it and not get a reply!

Make a note of all these details, therefore, because you'll need them when configuring your Blu-Ray device shortly!

3.0 The Software

There are two bits of software that you need to obtain. One runs on your desktop and does the 'fetching' of music data of the Blu-ray player's SACD; the second runs from the USB stick I mentioned earlier, whilst plugged into the Blu-ray player's USB port, turning the Blu-ray player into a data server of sorts.

3.1 AutoScript

I'll start with the software that runs on the Blu-ray player (from the USB drive), which is called AutoScript. It can be downloaded from this Dropbox, but in case that link ever dies in the future, and if you prefer not to trust to anonymous Dropbox folders discovered on the 'net, I've prepared a single ZIP-file copy which can be downloaded from this very website.

Note that my download is only of the 'Intel Processor' x86 variety. If your Blu-ray play requires the use of the ARMv7 version of the software, you'll have to download that from somewhere other than this site. The specific software to download depends on your precise model. The Sony BDP-S6200, for example, uses a different version of AutoScript from the BDP-S6500. So choose and download carefully!

You need to create a folder called AutoScript (note the capital letters A and S in that lot) on the USB drive itself and then put the three downloaded files (or the three files extracted from the ZIP file I've linked to) inside that folder.

This is therefore OK:

That's the root of the mounted USB drive, onto which I've copied the AutoScript.zip, and then I've right-clicked the zip file and asked for it to be 'extracted here'… and an AutoScript folder has been created for me automatically. Within that folder are the three downloadable files:

Note that I've now changed to be inside the AutoScript folder, and the three files are present and correct.

I stress this because placing the files correctly on the USB stick sounds so trivially easy to do -yet, from the support forums I've seen, it trips everyone up! They put the three files into the root of the USB stick, for example. Or they somehow manage to create an AutoScript/AutoScript folder/sub-folder pair and put the three files into the sub-folder, which means they are now one folder level too deep. Or they manually create a folder called 'autoscript' (with no capital letters) and that won't work either!

To summarise this part of the process then, and for the avoidance of doubt: you want a folder called /AutoScript to be at the root of your USB drive, and within that, the three files you see listed in the last screenshot above. There should be nothing else stored on the USB drive. Once you've got the USB stick correct, you can safely eject it from your desktop: that half of the job is now complete.

3.2 Sacd_extract

The software we run on the desktop to extract the SACD music over the network is called sacd_extract. Unfortunately, there are about a bazillion versions of the software knocking about the place -including versions which won't work! Some of these non-working versions are in various Linux distro's standard repositories, too, so installing the wrong version is very easy to do!

To make life as easy as possible, therefore, I've prepared copies of the software which I know to work, which can all be downloaded from this website with a simple click of the appropriate link:

On Windows, note the program is called “sacd_extract.exe”, so you need to add that “.exe” to the end of all the commands that involve running sacd_extract. You also run the program on Windows just by typing the name “sacd_extract.exe”, without prefixing it with a 'dot-slash' as you do on more Unix-like systems like Linux and MacOS. So, for example, throughout this article you'll see me say 'type the command ./sacd_extract….' and on Windows you'd simply type 'sacd_extract.exe' not './sacd_extract.exe'. Other than that, however, the program runs as identically on that platform as it does on Linux.

I should finally mention that I have no idea whether sacd_extract runs on newer M1, M2, M3 or M4 Macs: I only have ancient Intel CPU Macs to hand, so I know the software works as advertised on those (feel free to buy me a new, Apple Silicon-based iMac if you want me to test these things out!). As it is, I simply don't have any newer Macs to test on, unfortunately: so by all means give it a try, but I can't vouch for what might happen there. If it's possible to run virtual machines on an Apple Silicon Mac, then maybe try building one and installing a vanilla Linux distro inside it and use the Linux version of the sacd_extract software from there… but again, you're very much on your own, I'm sorry to say. Once you have downloaded the appropriate software, on Linux and MacOS you'll need to make the program executable. On Linux, you'd do that by opening a terminal session, changing directory to wherever you've saved the download and typing:

chmod +x sacd_extract

You can then check that the program runs by typing the command:

./sacd_extract

…which should prompt this sort of output:

Don't worry about that message about 'can't open /dev/cdrom': it's just a standard error at this stage of proceedings and won't be an issue once we get things properly prepared. Also don't get concerned that I'm running my copy of the software from the Desktop folder rather than the Downloads one: it doesn't matter much where you run the program from, provided you are consistent about it.

PLEASE NOTE: As at July 2025, this test-run of sacd_extract seems, on some Linux distros, to display the error message: “error while loading shared libraries: libxml2.so.2: cannot open shared object file: No such file or directory”. If this happens to you, you'll need to use your distro's package manager to install the missing shared library. Known fixes are listed below:

On Arch-based distros, issue the command: sudo pacman -S libxml2-legacy
On Debian-based distros: No fix needed as yet
On Ubuntu-based distros: No fix needed as yet
On Fedora-based distros: No fix needed as yet
On Suse-based distros: No fix needed as yet

With both the Autoscript and sacd_extract pieces of software obtained and prepared, we're almost ready to start ripping something!

4.0 Preparing the Blu-ray Player

Before we get into SACD ripping, though, there are a few things we need to do to the Blu-ray player itself, so that it is contactable over the network and won't do silly things like putting itself into hibernation when we're in mid-rip! Obviously, the specific options you take and what they look like may well be different for you, if you're using a Pioneer player, compared to me and my Sony S490. So, take what follows as general advice, rather than specific guidance on where you'll find the relevant options in your player's setup menus. A |reader-submitted set of instructions using the Sony S390 provides a useful guide and point of comparison as to how things can change between versions of apparently similar hardware: many thanks to reader Scott for being prepared to document and contribute.

I also offer my apologies in advance for the generally poor quality of the screenshots that are about to come, and the fact that I can be seen lurking in nearly all of them! I have not yet mastered the art of photographing TV screens with reflections in abundance! Anyway…

4.1 Network Configuration

You first want to make sure your Blu-ray player is connected to your home network correctly and that it can reach the Internet if it has to. For this to work, you'll need to assign your Blu-ray player a workable IP address and corresponding netmask; the address of a DNS Server it can use to turn 'word addresses' into 'number addresses'; and the address of the Default Gateway that will let it talk to the wider Internet. All the stuff we discussed back in Section 2.3, basically!

First, find your player's Settings menu, and within that, the Network Settings option:

Next, select the option that lets you configure your home networking details. In Sony's case, that seems to be called 'Internet Settings', though it's really less to do with the Internet we know and love, but rather 'networking' in a general sense:

You probably then get a chance to configure a wired or wireless network:

As I mentioned above in Section 2.3, even if a wireless networking capability is available, I'd strongly recommend using a wired network connection, assuming you have ethernet cables and switch or router ports available! Thus, I'm taking the 'wired' option you see here. Often, as in this case, the player manufacturer will guide you to setting things up in an automated fashion:

The 'Auto' option here, if taken, would basically mean your player became a DHCP client and would seek to configure IP, DNS and Gateway addresses as a DHCP server tells it to. Most ISPs supply routers that offer this DHCP server capability, so chances are good that 'Auto' will work. But I prefer to setup my servers with fixed IP addresses assigned by me… and that means having to take the 'Custom' option. Not one to take 'No Auto' for an answer, however, Sony basically repeats the question:

Again, I don't want things auto-configured, so I've gone for the 'Specify an IP address' option. The next screen is where the configuration actually happens:

As I mentioned back in Section 2.3, these numbers apply to me and my home network: yours are likely to be substantially different. You can see from my choice of IP Address and Subnet Mask that my generic domain address is '192.168.137': that's the bit which both my PC and the Blu-ray Player have to share. You can also see that I've assigned unique address '40' to be the player's specific device addres: this is the bit of the whole IP address which no other device on my network is allowed to be using at the same time as the player is switched on. You'll notice I don't have a secondary DNS: that's the only optional entry here, really. Everything else is necessary if the Blu-ray player is to talk to the rest of my home network and talk to the wider Internet. Next, you are asked if you use a Proxy Server:

Proxy servers are really an old-school thing now (except in corporate environments, where controlling what bits of the Internet are accessed by employees is important), so I doubt you have one at home: by all means specify it if you do though. Me… I'm taking the 'No' option! That's pretty much all you need to do. Usually, the player will now take the networking information you've provided and use it to try to make contact with the wider Internet:

If you got all your network information entered correctly, you'll soon see this sort of thing:

…and that tells you that everything has been tested and passed. You're now in Blu-ray business!

4.2 Perform a Full Firmware Update

Now that we have established Internet connectivity, it is possible to upgrade the BluRay player's firmware. I certainly have not had any issues with doing this -and doing it means you know you're starting from a state where annoying firmware bugs and security holes have (hopefully!) been patched. However, as a couple of correspondents have recently reminded me, some hardware vendors have been known to disable key bits of functionality in their firmware updates and it's therefore plausible that by upgrading your firmware, you'll actually be locking yourself out of being able to rip an SACD at all! The example that springs to mind is Sony's PS3, which was prevented from having a Linux distro installed on it by the release of new firmware in 2010, though it had been possible before then.

For the record, the firmware version I'm using with my Sony player is: M12.R.0510. Correspondents have told me that an earlier firmware version doesn't work as per my instructions, so clearly the process is firmware-version dependent.

As I say, I had no issues once I'd updated my BluRay player's firmware -but a degree of caution is advised. If the rest of these instructions fail, it's possible a firmware upgrade might help. If they work without doing an upgrade, then fine: maybe skip the firmware update altogether: your choice!

In my case, I need to visit my Setup menu option once more and this time take the 'Network Update' option:

Of course, it may not be called precisely that on non-Sony models, but hunt around and see if you can find an equivalent. Shortly after I take that option, I see this response:

…which is Sony's way of telling me that my firmware is already as up-to-date as it could be. If a firmware update is available, however, the player should auto-detect it and offer to download and install it: follow whatever prompts are offered at this point in order to make that happen. You'll usually be warned to make sure that once the firmware update starts, you don't turn the machine off (otherwise you'll probably turn the player into a useless brick of plastic and metal that doesn't work at all!) So, give yourself plenty of time to let the update happen without you getting impatient about it. Now is probably a good time to get a cup of tea!

4.3 Other Configuration Settings

Finally, there are a handful of settings for a Blu-ray player that probably ought to be set, though it might not be fatal if they aren't. Again, the precise location of these options and what they're called will depend on the model of player you're using, but these screenshots come from my S490, so see if you can find something on your player that sounds approximately equivalent! In the Audio Settings:

…make sure that DSD Output Mode is set to be OFF:

In the BD/DVD Viewing Settings option:

Make sure that BD Internet Connection is set to Do not allow:

I assume this is to try to stop any SACDs which might have Internet-checking copy protection from being allowed to connect to the Internet, but I can't be certain. It seems to be a generally-recommended thing for successful SACD ripping, anyway.

Next: in the Music Settings menu:

…Make sure that the option to play back the Super Audio CD playback layer is set to Super Audio CD:

Finally: in the System Settings menu:

…make sure that Quick Start Mode is set to be On:

Fiddly though some of these options are to find and set, it is happily a mostly set-and-thereafter-forget affair, so you only have to experience the pain once!

5.0 Converting the Blu-ray Player into a File Server

With all that updating and configuration sorted out, we're ready to try actually performing an SACD rip. I'm assuming you actually own a proper SACD, of course! I will also say at this point that these next steps can be really quite tricky to get right -and there are a lot of false or misleading instructions about them available elsewhere on the Internet. It's also true that different players behave differently, so not all instructions apply. For example, it's commonly said that you should 'insert the USB drive into the Blu-ray player and this will trigger the disk tray to open'. Well, not on my BDP-S490, it doesn't! So: I shall document what works on my S490 first, because I know what works on it and in what order things have to be done. On other models, you may get different or unexpected results and you may need to play around a little until things work correctly.

5.1 The Steps for the Blu-ray Player

Power on your Blu-ray Player, normally, by pressing the on/off button on the face or top of the unit. Mine, for example, is over on the left-hand side, above the Sony logo:

The player's front display should probably start off by displaying the word 'Empty' (indicating that no SACD is present) and will end up displaying 'Home', to indicate it's waiting for instructions:

Open the disk tray and place your SACD in it. Do not close the tray. Just leave the disk 'hanging' in the open:

Now insert the USB stick you prepared earlier (the one with the AutoScript folder and its three files contained within):

As you can see in that screenshot, the red 'reading' light on my USB stick is now illuminated -and the disk tray has closed itself. That's what you want to see happen. Incidentally, there is some debate on various Internet forums whether you can use the front USB port, the one on the back of the player, or either at will. In my experience with the S490, either works just as well, but the front port is more convenient to access, so that's the only reason I use it in preference to the one on the back. After a while, that 'Home' messsage you see will/should change to indicate the total play time of the SACD that has now been inserted into the player:

When you reach this state of affairs, where the SACD's total duration is displayed, briefly press the Off button and wait for the player to turn itself off. This might seem odd: presumably the player has to be 'on' to serve music to others? Well, yes: but in this case, though the machine will appear to be off, it's actually in 'sleep mode'… and for Sony players, we need the player to be in sleep mode if it is to work properly. Other manufacturer's players don't need to be in sleep mode for a rip to work, so you don't turn off Oppo or Pioneer players, for example… but I have no actual experience of those players, so I'm only reporting what others have claimed. All I can say is: for Sony players, once the SACD duration/play time is displayed, you must touch the off switch to put the player into sleep mode.

By way of a quick summary of these steps, then:

start with the player plugged in, with power on, but with the device switched off
switch on
eject tray
place SACD on tray, but don't close it
insert USB
wait for tray to close and total play time to display
press the off switch to put the player into a sleep mode

Note that once in this 'server mode' state, the player will stay that way until the power cable is physically unplugged. So, once you've ripped one SACD, you simply press the player's eject button, place the next one on the disk tray, close the tray, wait for the new total play time to appear and then touch the power-off button to put the player back into 'sleep mode' once more. Just a note too: I found swapping SACDs a bit of a pain: pressing eject would open the tray and let me remove the existing SACD, but the tray would auto-close quite quickly, long before I could load the next SACD into the tray. So, I had to eject → remove existing SACD → let tray self-close → eject again → load new SACD → press close to manually close the tray → wait for total play time to display → press the off button briefly …and I had to do that each and every time I wanted to rip the next SACD in the set. I've seen reports that, after several SACD rips, the Blu-ray player suffers an out-of-memory condition and sort-of crashes itself. I haven't met that condition as yet -but if you do, simply unplug, wait for 15 seconds, put the plug back in the socket, and start again from step 1 above. So now the Blu-ray side of things is done: the device is sleeping, but ready to serve music data over the network. Some people advise removing the USB stick at this point (as it's not technically needed). I have often not bothered doing this and still found that the first SACD rip works just fine, nevertheless. I have, however, found that second and subsequent rips can prove problematic if the USB is left inserted -so, I too would recommend removing the USB stick once the first SACD has been inserted into the tray and is ready to server across the network. I guess the real point is that you never want the player to boot up with the USB stick plugged in. So, by removing it now, you make sure that this can't accidentally happen. Incidentally, even if it does boot up with the USB stick in, nothing bad happens: it just won't be able to rip an SACD disk again until you power it off (actually, you really need to unplug the player from the wall socket for at least 15 seconds) and reboot it without the USB stick being present)

5.2 The Steps on the Desktop PC

So now we switch away from the Blu-ray player (which you leave in its off-but-sleeping mode previously described), and back to our desktop PC. First, we want to make sure we can connect to the player in the first place:

At a new terminal session, a simple 'ping' command directed to the known IP address of the Blu-ray player indicates that it's connected just fine to the home network, and we can talk to it. You'll need to substitute in the IP address you actually assigned to the Blu-ray play, back at section 4.1 above, of course: the .40 address you see here just happens to be what I assigned my player! Finally, you downloaded the sacd_extract utility back at Section 3.2 and stored it somewhere on your PC (probably the Downloads folder, but I'm using the Desktop, for no particular reason). In the terminal you just opened, cd to that folder, and type a variant of this command:

./sacd_extract -i 192.168.137.40:2002 -s -z -2 -o /home/hjr/Desktop/rips

That invokes sacd_extract with various options, as follows:

It says to connect to the device at IP address 192.168.137.40, on port 2002 (so that's how sacd_extract knows to talk to my Blu-ray player)
The -s switch says to extract the music to DSF files rather than to an ISO (I'll explain about this more later on)
The -z switch is a technical instruction to not 'zero pad' the music that's about to be extracted
The -2 switch says to extract the stereo signal from the disk (rather than the multi-channel 5.1 surround sound signal it might contain)
And finally, the -o switch says where to write the extracted music files: in this case, I'm saying to dump it on my Desktop.

If the player itself is properly primed to act as an SACD server, you'll see this sort of thing happen in response to that command:

There may be a pause between you issuing the command and anything actually appearing to happen! In my case, for example, the 'Enhanced by euflo ….starting!' message would appear practically instantaneously and then the terminal would just sit there doing nothing, which was a bit nerve-wracking! Fortunately, my old SACD player makes quite a racket when it's spinning a disk at speed, so I could hear that sending the command over the network had triggered the SACD player to do something. A little patience was then rewarded with the complete, steaming pile of gibberish you see displayed here …meaning that, at last, data was flowing between the player and my PC.

In the middle of that screenshot, you'll notice that the wall of text mentions 'Bach - Secular Cantatas Vol. 2': the SACD player has read metadata to determine that this is some Bach, in other words. That's interesting, because no ordinary audio CDs contain that sort of metadata, but all SACDs do. The data in those tags is universally rubbish, though, so you'll still need to supply your own after the rip completes! As an example of what we're dealing with on this metadata front, here's a directory listing once I'd ripped the ten disks of the set:

You'll spot that whoever tagged this particular metadata into the SACD set decided after disk 3 that mentioning mere 'Bach' was insufficient: hence, disks 4 onwards are said to be by 'J.S. Bach'. This sort of data inconsistency drives me up the wall and is the principal reason why I say that all music industry-derived metadata is completely worthless, without exception!

Anyway: the point is that you can at least tell what is being ripped and that the right disk was put into the correct player, so there's that!

For the rest of the display: well, it's just a lot of technical hocus-pocus, showing what sectors of the disk have been ripped. The percentage on the very right of each line is the percentage of the entire disk ripped so far; that nearer the left of each line is the percentage of the particular track that's being ripped.

As these numbers scroll off the screen, you'll notice a new folder has been created (within wherever your -o switch said to put the ripped music). In my case, as you saw above, each new disk produced a new 'Secular Cantatas Vol. x' sub-folder, and within each of those sub-folders, as the rip progressed, things would appear, like so:

That is, a 'Stereo' sub-folder was created, and then within that, a pile of individual 'DSF' files appear, each usually rather large (in the hundreds of megabytes, though obviously it depends on the track length as to the exact scale of the data involved).

DSF files are 'Direct Stream Digital Files': they're the raw audio data, stored in a format that's native to SACD and which very few media players can readily play. I'm producing DSFs because I used the '-s' switch in my earlier ripping command, you may remember.

I could, instead, have used this variant of the command:

./sacd_extract -i 192.168.137.40:2002 -I -z -2 -o /home/hjr/Desktop/ISO\ Rips

This time, there's a -I switch instead of the -s. That triggers the creation of a single ISO file, so that the rip looks like this:

You might notice that instead of bazillions of lines of 'file sectors processed…' lines scrolling up the terminal, this version of the command outputs a single line that shows the same count of sectors processed as with the DSF example, but a single percent complete indicator and no scrolling. It's thus a bit 'cleaner' to output to ISO than DSFs. The resulting rip is a lot simpler, too:

Towards the bottom of this screenshot of my file manager, you see the DSF output of the second volume of Bach's cantatas as before: a folder called 'Stereo', and within that, a bunch of individual DSF files. Above this, however, I've also ripped the second volume to an ISO: and you'll note that you get a single sub-folder containing the recording name and then, within that, a single file using an ISO extension.

An ISO file is simply a sort of 'container file', within which all the audio data that is contained in those separate DSF files is stored as one complete whole. The audio data is identical in either case, however. There is no data difference between 20 DSFs and a single ISO that 'contains' within itself the same 20 DSFs' audio data.

Why does the sacd-extract utility then let you choose either output option? What's the point of outputting to ISO, if DSFs are audio-data identical? Or vice versa, come to that?

It comes down to the old problem of gapless playback. When you have separate tracks of audio, a lot of music players in the early days of digital audio used to struggle transitioning from playing one file and starting playing from the next: there would be audible pauses as the transition took place, or (worse) glitches and clicks of one sort or another. That was true of even music ripped from ordinary audio CDs: imagine how such players coped when the data volumes were the tens of times greater that they are when dealing with an SACD! Well, the old-time fix for players that couldn't do gapless playback was to present the music in the form of a single file that, by definition, required no file-to-file play transitions and thus had no gaps: and that's the reason the ISO file format exists. It represents a single file, containing within itself all the data from all the constituent 'tracks' making up the original SACD -but, as a single file, it can be played back without gaps, even by players that can't do proper gapless playback.

Fast forward about 25 years and computers have so much more computing power than we could dream of, back in 2000, along with solid state storage with read speeds orders of magnitude faster than the spinning hard disks of yore: the problem of gapless playback isn't really a problem any longer!

I'll go further: most music playing software cannot natively play either format, though an increasing number of high-end music hardware can. Even software players (like Foobar2000) can play one or other format by means of deploying a plug-in. But I don't use such hardware players and I don't use those sorts of software players either: my music player of choice is Giocoso, and it can only play FLACs. So, one way or another, I'm going to have to convert my SACD rips to FLAC format …and therefore, again, there's no reason to prefer ISOs to DSFs or vice versa. Both are only ever 'intermediate' formats for me, so it really doesn't matter which I rip to.

And finally, I'll mention something I've been doing for many years now: when I rip a 10-track CD to 10 separate FLACs, I'll combine them back into a SuperFLAC when I'm done, meaning that I only ever play 'single file FLACs', no matter how many 'tracks' they may have been made up of on the original CD. I do this for a couple of reasons: file systems generally perform better when storing a few large files, rather than lots of small ones; and I don't approve of the concept of 'tracks' in classical music anyway. So, for a combination of practical and philosophical reasons, all my per-file FLACs get combined into a single per-recording FLAC in the end …so, once again, I don't particular care whether I rip an SACD to a single ISO or a dozen DSFs: whatever the nature of the source, I'm going to end up with a single FLAC, one way or another!

So, in short: whether you prefer to rip to ISO or to separate DSFs is entirely a matter of purely personal preference. There is simply no technical reason to prefer one output format to another.

6.0 Converting SACD Ripped DSFs to FLAC

So, let's assume for now you've ripped your SACD to separate DSFs. You now want to convert them to a format that practically all music players can handle without drama: FLAC. I have a piece of software to do that, called Semplice, freely available from this very website. Install it with the commands:

cd 
wget software.bbritten.com/seminst
bash seminst

Follow the prompts and supply the sudo password when prompted. Launch the program by typing semplice in a terminal session: you may get prompted to install some software prerequisites before Semplice can run effectively. Install anything requested, then retry running Semplice itself once more. If all the software prerequisites have been installed correctly, you'll see this:

Semplice lets you do lots of different things with your digital music files (such as tagging them and giving them a volume boost), but the main thing to worry about now is to go to the Audio Processing menu (tap the letter 'A' or use the right- and left-arrow keys to get there):

Option 2: Convert between audio formats is then the menu option you're after, so tap the '2' key to select it:

Arrow-down to select the appropriate source audio format and press the Space Bar to select the appropriate one: an asterisk will appear next to the selected item. In this screenshot, you can see I've selected the DSF format item. Note that I could equally well have selected the ISO option, if I'd ripped to that format, too. Press [Enter] to submit your selection. The screen changes to display all the possible output audio formats:

Again, you simply arrow up and down until the right item is highlighted and then hit the Space Bar to select it. You'll probably want to output to a FLAC format -but you'll notice that three different ones are available. Do you go for 'Standard', 'Hi-res' or 'Super Hi-res'? The difference is that 'standard' produces 16-bit audio files sampled at 44,100 times a second -precisely what standard CD audio is created as; Hires produces 24-bit audio files sampled at 88,200 times a second (there's an error in the text shown on the menu in that screenshot! It should show 88,200 not 82,000); and the Super Hires option produces 24-bit files sampled 176,400 times a second. Note that 88.2 and 176.4 are both whole multiples of standard CD's 44.1 sampling rate: the intent is not to cause dithering errors by converting to sample rates that are not divisors of each other.

Almost no human ears can actually hear anything better than standard CD audio (there's a reason Philips and Sony sound engineers invented CD audio the way they did!). Older human ears will definitely not hear anything better than standard CD audio. Audiophiles with more money and sense, but also younger listeners, and maybe the occasional human with so-called 'golden ears' might get benefit from a hi-res FLAC, sampled at 88.2KHz: the extra bits and higher sampling rate allow such files to have a greater dynamic range than standard CD audio files, but most mere mortals wouldn't be able to tell the difference. The Super Hi-res option is only there for people who like to have bragging rights. Such high sampling rates produce audible results that are physically incapable of being discerned from an 88.2KHz audio signal, though they consume four times the data.

I do have older ears and therefore I always down-convert my SACD rips to standard CD audio sampling rates: I buy my SACDs for their re-masterings, not for their extra bits and Hertz! However, if you want a higher “quality” audio format, the general feel in the music industry seems to be that DSF64 (which is what most SACDs are authored at) approximately equates to an 88.2KHz sampling rate. If your SACD contains DSF128, DSF256 or even DSF512m then you'll probably want to go for the super hi-res 176,400Hz format.

Anyway: pick one and press [Enter] to go ahead with the conversion. As soon as you do, the screen will change to something like this:

The message in yellow at the bottom of the screen confirms that the conversion is taking place (and reminds you what sort of output format you selected, too). You can see the work in progress in your file manager:

For every DSF, you'll see an equivalent FLAC equivalent, its size increasing over time as the conversions proceeds. When the conversion is complete, Semplice will return to its main menu. The file system will end up looking like this:

You'll immediately notice (and perhaps panic!) that the folder now only contains FLACs: where have the original DSFs gone?! Well, mine have irretrievably been deleted …but that's because I've configured Semplice to work that way! If you navigate to the Miscellaneous menu and take Option 1 - Edit Configuration File, you'll see various configuration parameters that affect the way Semplice works. There are four 'pages' of these parameters. Press [Enter] to move from one to the next. On the fourth page, you'll see this:

The second, highlighted parameter there has been set (by me) to 'Yes, please delete source files after codec conversion'. If you want your DSFs (or ISOs) not to be auto-deleted, make sure that parameter is set to 'no' (which it is by default, anyway).

Anyway: one way or another, you now have a set of per-track FLACs that you can play on all players and with most music-playing software without drama.

7.0 Converting SACD Ripped ISOs to FLAC

What if you'd ripped your SACD to a single ISO, though? Can Semplice help there?

Certainly! Again, cd to the folder containing the ISO before launching Semplice. Use the Audio Processing menu, Option 2 once more. Select ISO as your input format and whatever you fancy as the output format. This time, as soon as you press [Enter] with a selected output format, you'd see this:

To begin with, Semplice splits the ISO into its constituent tracks: it does so by outputting uncompressed and lossless (and thus large) WAV files, which in your file manager would look like this:

Here, you see the source ISO and the separate WAV files being extracted from it. When all the tracks have been extracted from the ISO, Semplice's display changes to display the following message:

The separate WAVs now get converted into lossless, compressed FLACs (of whatever bitdepth and sample rate you chose). In your file manager, things would now be looking like this:

Here the WAV files and their equivalent FLACs exist side-by-side. This does, of course, mean that at least temporarily, your hard disk needs enough space to store yet another version of your SACD (around half again of the space occupied by the original rip).

When this process completes, Semplice will return to its main menu and your file manager will end up looking like this:

You'll immediately notice that whilst I now have a nice set of FLACs, the WAVs have entirely disappeared! However, the original ISO is still there on disk -and this is why it's quite safe for the WAVs to be automatically deleted: they are only an intermediate file between the ISO and the end-result FLAC and could always be re-created by asking for a fresh conversion from the source ISO which, you'll note, has not been auto-deleted.

This automatic deletion of the intermediate WAVs always happens, regardless of what you've configured the 'Delete source file after codec conversion' parameter to be in the Semplice configuration file. It's also true that ISOs are never deleted after conversion, regardless of what that parameter is set to. When converting from ISOs, therefore, remember to clear up the source ISOs yourself: otherwise, you'll be taking up multiple gigabytes of disk storage unnecessarily! Other than that, though, you'll notice you again end up with a series of per-track FLACs.

Incidentally: the reason why ISO conversions break the 'auto-delete' rules in this way is that ISOs are the only input format that cannot generally be played directly by most of the media players I'm familiar with; even DSFs can be played with appropriate plugins installed for most of the more common players. Accordingly, there's no easy way to compare the output of an ISO conversion with its source. Semplice therefore was written always to keep the ISO source around for safety's sake.

High-resolution FLACs will always look identical to 'ordinary' FLACs ripped from standard CDs (though you might notice they're all a bit 'fat' as far as file sizes go!), but if you play them via a Digital-to-Audio Converter (DAC) that exposes details about the music it's being fed, you'll see something this:

That indicates the DAC recognises that a 24-bit, 88.2KHz audio signal is being received: these are therefore hi-res FLACs, not your bog-standard CD Audio ones!

8.0 Volume Boosting

For various technical reasons, SACDs are often mastered at a much lower volume level than ordinary CDs would be (the short version is that the much higher sampling frequencies can introduce harmonic 'noise' into the audio signal; keeping the volume low allows these noise injections to be filtered out appropriately). It's not always the case, but usually you'd expect an SACD to be about 5 or 6 decibels quieter than a standard CD equivalent. You can live with this by the simple expedient of continually turning the volume knob on your hi-fi system's amplifier up or down, depending on whether you're playing files extracted from an SACD or a standard CD.

If you are vaguely sane, however, you may want to properly fix this problem!

From its Audio Processing menu, take Option 1 - Boost volume. This triggers a scan of every FLAC found in a folder. The program analyses the peak volume reached in each track. If at the end of analysing everything Semplice determines that the loudest track could be volume-boosted by an amount that takes it to a maximum non-distorting volume, it will propose to apply that same volume boost to every FLAC in the folder. In this way, all FLACs get louder by the same amount -thus, the relative loudness between them doesn't change, but the absolute volume level of all of them increases.

Here's what happens when I take that option from within the folder containing the FLACs produced from my rip-to-ISO SACD extraction done earlier, for example:

Each file is scanned, one at a time, and its peak volume is detected. Once all files have been scanned, Semplice works out what the maximum safe volume boost could be applied to all the files in that folder. Here, it has determined that File 1 (out of 3) is the loudest FLAC and, despite being the loudest, it can nevertheless safely be boosted by 5.5dB. That same boost will be applied to the quieter files, too, if you click the 'Go ahead and boost' button.

Semplice will never propose a volume boost that would introduce distortion to an audio signal. It always errs on the side of caution too: no matter how quiet the loudest file might be, it will never propose a boost larger than +7.5dB, since a boost greater than that implies that the original audio has been mastered particularly quietly -and probably for a good reason! Recording engineers generally know what they're doing when things are mastered that quietly (famously, for examples, some recordings made in the Kingsway Hall in London are often mastered more quietly than you might expect because otherwise you can hear the rumble of tube trains in the background!)

If you say 'go ahead and boost' when prompted, this happens:

The program immediately starts to apply the volume boost. Note that Semplice does not modify the original FLAC: if you were to look in your file manager at this point, you'll see this sort of thing:

You'll notice that the original FLACs are all listed in the folder as before, but they've now been joined by equivalent FLACs with a prefix that represents the volume boost amount: in this case, three FLACs now exist with a “+5.5-dB” prefix. The originals are therefore quite safe at this point: Semplice is creating new files that are volume-boosted, not altering the originals.

At the end of the volume boosting phase, Semplice displays this message:

It offers to delete the original FLACs, if you select the 'Yes' option by pressing [Enter]. The idea here is that you might want to listen to an original FLAC and its volume boosted equivalent to check that the volume boost hasn't done anything nasty to the audio signal. Once you're satisfied that the volume-boosted files are fine, you probably won't want to keep the originals. Take the 'y' option to delete the files, therefore.

Before I go ahead and do that, here's the state of play on my PC, once more:

Make a note of the file sizes here. The original File 1 is 57.8MB big; its volume-boosted equivalent is 68.8MB. Similarly, file 2 is 22.2MB in the original and 27.1MB in the volume-boosted state, and so on. Now let me select the 'Yes' option back in Semplice to trigger the deletes of the original files:

The effect is immediate: there are now only three FLACs listed in the file manager and none of them now have the “+5.5-dB” prefix in their file names, so they look like the original FLACs, in terms of their names. But look at the file sizes again… even though the files lack a volume-boosted prefix, the sizes tell you that these are the volume-boosted versions of the FLACs. Semplice has, in other words, deleted the original FLACs and renamed the volume-boosted replacements so that the file names no longer contain the decibel differentiator.

The net result is that you now possess a complete set of per-track FLACs, sourced from an SACD, and adjusted to be as loud as they can possibly be, without distorting and without changing the relative volume difference between tracks.

Incidentally, if you take the Miscellaneous menu, Option 1 - Edit Configuration File once more, on the fourth page of configuration options you'll see this:

That last option, 'Apply audio boost automatically if appropriate' is, by default, set to 'no', which is why when I took the option to volume boost, Semplice analysed and then asked me if I wanted to apply the boost. If I were to set this configuration parameter to 'yes', then when I take the option to volume boost, Semplice will analyse the files exactly as before and, if it determines that a volume boost can be applied, it will apply it without asking you whether you want it to go ahead. It still won't delete the original files without asking, however. It's just a little bit more convenient to create the db-prefixed files automatically without extra prompting, but you're definitely still in control over whether the originals or the volume-boosted files are the ones you want to live with.

9.0 FLAC Merging

Finally, I'll remind you that I mentioned above that I have a philosophical and practical objection to storing lots of 'tracks' to represent a single piece of classical music. Once I get my 'track FLACs' volume-boosted, therefore, I like to join them back together to create a single 'SuperFLAC': a solitary, huge FLAC that contains within itself all the musical data that was originally stored in the multiple-track version of the original rip.

Semplice does this job for you, too: just take the SuperFLAC menu, Option 1 - Merge tracks into SuperFLAC:

To start with, Semplice checks all the metadata tags the individual FLACs have been marked up with (if any). Once the metadata checks have been done, Semplice immediately starts to merge the FLACs into a single file and displays the fact that it has begun the merging process in the program's status bar, towards the bottom of the screen.

This process can take a long time. You can monitor progress in your file manager:

You'll see the three source FLACs (plus the ISO they came from), sitting alongside the new 128.3MB FLAC, whose name is the same as the ALBUM tag assigned to the first FLAC in the folder. A bit of mathematics tells you that 68.9+27.2+32.4 = 128.5MB, so you can see that, give or take a bit of rounding by the file manager, the symphony-named SuperFLAC really does contain all the data stored in the 3 separate per-track FLACs.

When the merging process completes, Semplice lists all the per-track FLACs that are now really surplus to requirements:

The list might be long, if there were lots of per-track FLACs: just scroll up and down through it if necessary. When you're ready, select the 'Yes' option here and then press [Enter] to submit it: only at this point will Semplice delete the source, per-track FLACs:

On this occasion, the original ISO is left behind on disk, too, from before… but all the per-track FLACs have indeed been deleted. So you now have a FLAC equivalent of the ISO originally ripped from the SACD, but (as you can see) it's much smaller in comparison, which your hard disk will thank you for!

10.0 Conclusion

Ripping SACDs isn't terribly hard -but finding a coherent explanation of how to do it can be! The main secrets to success are, firstly, to own one of the suitable Blu-ray players; secondly, connect it to your home network correctly; third to prepare the USB stick properly; and fourthly, to get the sequence of what you do to the Blu-ray player to get it into sleep-and-serve mode correct. That last one is where it can get frustrating, because if you power-on with the USB stick already in-place, it won't work. If you close the tray door yourself, after placing the SACD on it, it probably won't work, unless it's the second or subsequent rip in a series of rips. If you forget to tap the power-off button after the tray closes, it won't work. Only when you get the power-on → open tray → place SACD on tray, but leave it open → insert USB stick → wait for disk duration to display → power-off routine down pat does this stuff become (mostly!) effortlessly successful.

And once you've ripped your SACD, you'll need to post-process the ripped file to turn them into playable, but hi-res, FLACs… but Semplice has you covered in that department, whether you decide to rip to ISO or DSF originally.

Remember, too, that though SACDs automatically supply plenty of metadata tags for your newly-ripped music files, most of it is complete garbage and will need to be corrected by manually tagging the files after the rip is complete: Semplice has you covered there, too (just use menu options 1 to 9 to tag your FLACs with more suitable metadata).

Semplice also helps you apply an appropriate volume boost to your ripped SACDs, and additionally to combine per-track FLACs into a single SuperFLAC, capable of true gapless playback and much more convenient to store on disk than dozens of per-track FLACs you might be more used to.

In any event, I hope this article has clarified what's involved in getting access to your SACD data! Ripping can be a little tricky, but post-processing the rip with Semplice can be relatively straightforward. Happy SACD ripping, therefore!

keystomusic

Anonymous (anonymous@undisclosed.example.com) — 2026-02-26T14:18:49+00:00

Primary Keys to Classical Music

1.0 Introduction

In any data-based application, the key to flexibility, speed and extensibility is to be able to identify, with the fewest possible pieces of information, an utterly unique way to find a single piece of data in which we're interested. The combination of attributes which uniquely identify a data item is then called the 'primary key' of that particular data set.

Technically, the problem of how to find the minimal primary key to retrieve needed data is a branch of “information theory” -but this detail needn't detain us unduly and I promise to try to make the discussion as un-technical as possible. So long as you remember that “primary key” means “least information needed to retrieve the full set of data”, you're doing fine!

In any event, the point of this article is to examine the question: If we are to catalogue our music so that it can be accessed flexibly and quickly, what is music's 'primary key'? Having identified it, do the practical restrictions placed on us by common music playing software cause us to re-think it in any way?

In this article, then, I'll explain what music's primary key is and how the distinction between 'primary' and 'secondary' types of data about music is an important one to remember as you practically go about cataloguing and classifying a large music collection.

2.0 An example with Books

To begin with, I'd like you to think about how you identify a given instance of a book or novel? (I don't mean distinguish between different copies of a book; just between two different novels in principle). In many cases, you might think 'book title', since you would not then confuse A Tale of Two Cities with, say, Dombey and Son -and, in many cases, this would indeed be unique. But therein lies a trap, because book titles are only usually unique, but they don't have to be (see this article for some good examples of where book/novel titles have been duplicated (or nearly so) over the years). First rule of information theory: if it's ever possible for a data attribute to be non-unique, it cannot on its own be used as a true primary key. It doesn't matter if, in a particular set of circumstances, the data attribute is unique. That is, I walk into a specific book shop and find that they don't have a copy of Kate Acker's Great Expectations, so in that shop, book title is unique. No matter. The fact is that, theoretically, the title might duplicate in another bookshop. Therefore, book title cannot be a primary key candidate.

To work around that requirement, perhaps, we'd think, “Add in Author. The combination of Author+Title must surely be unique?” Certainly, Charles Dickens+Great Expectations is now easily distinguished from Kate Acker+Great Expectations, so the combination of Author+Title seems unique enough to warrant being thought of as a book's 'primary key'.

However, we must again consider the context within which a primary key will be used. For example, consider my own bookshelves at home: I'm lucky enough to own an 1848 first edition of Dickens' Dombey and Son. It's lovely to own… but it's got lots of typographical mistakes, the pages are quite brown and the font used is rather old-fashioned. So whilst it's nice to own it, I never actually read it! For that, I have the Penguin Classics paperback edition…at which point, my bookshelves violate the uniqueness of Author+Title, for there are two Dickens+Dombey and Sons on my bookshelves!

There are various workarounds possible. The first one that springs to mind is to add the publishing house. OK, let's try that then: my first edition appears to have been produced by Bradbury & Evans; the paperback by Penguin. Charles Dickens+Dombey and Son+Penguin does now seem distinguishable from Charles Dickens+Dombey and Son+Bradbury & Evans. Primary key re-discovered, then!

Well, maybe not so fast: Penguin have re-printed their version of the novel many times over the years, I'm sure. The one I have is dated 1995… maybe there's a 1996 printing of the same edition? It's unlikely someone would have both copies on their bookshelves at the same time, of course… but if it could happen, then we cannot consider Author+Title+Publisher a truly good primary key candidate. Maybe we'd have to go for Author+Title+Publisher+Year instead, then?

In this manner, we could continue to explore and add new pieces of information into our primary key candidate until we hit upon some combination or other that is truly and forever unique, in a particular context: that would then cease to be our primary key candidate but would become our actual primary key.

I won't pursue this particular line of thinking further, because I frankly don't know enough about the printing and publishing trade to really tell you what an ideal primary key would end up being! I really just wanted to show you that your first thoughts on a likely primary key candidate are seldom the last word on the subject: as the scenarios and possible situations in which your data model must work proliferate, so what seemed like good keys turn out not to be so good at all. And what might work well in one situation might fail badly in another (for example, consider if your bookshelves do not have two versions of Dombey and Son on them, but mine do: what you decide is an excellent primary key might then be a disastrous choice for me in my environment).

I also wanted to make the point that what we think of as candidate primary keys have no relation to other things we might want to find a novel by. I mean, for example, that I may well think to myself one morning “I wonder what novel it was that had the line 'It was the best of times; it was the worst of times'. That is an entirely valid question -meaning, it's an entirely legitimate thing to want to search for. But 'by their first lines' is not a suitable way to organise the fundamental ordering of a catalogue of books (because they could, plausibly, duplicate… and first lines are always going to contain more words than the terse combination of author+title+publishing house name. Remember: we are seeking to minimise the criteria that define uniqueness). The need to order a data set in such a way as to find unique items comes first; the ability to search data for any random thing that springs to mind is a secondary (though important) consideration. The requirements of the latter should not dictate how we determine the former. Searchability is a different problem domain than sensible ordering, basically.

3.0 Natural and Synthetic Primary Keys

I also want to pause at this point to say that what I've been describing is the finding of a natural primary key: that is, a key using pieces of information (such as an Author's name, or a novel's title) which make natural sense to humans. There is often an easier way to devise a primary key, however: use a synthetic primary key. That is, pick a piece of meaningless data which makes no real sense in the outside world but which you know, because you invented it, will be unique for every data item and label each data item with it. For example, every time you open a spreadsheet, you're looking at a synthetic primary key in the far left-hand column of the screen: the row numbers start at 1 and increment sequentially thereafter. Every row in the spreadsheet is therefore 'addressed' (and can be referenced by) a guaranteed-unique number which in and of itself has no meaning or significance to the data you choose to store in the spreadsheet's cells. If I say 'see cell A1', you might be about to read your name or your salary or someone's address: “A1” uniquely identifies the actual data, but bears no relation to that data, in and of itself. That is the essence of a synthetic primary key.

Books essentially have such a synthetic primary key ready-made for them these days, too: the ISBN (the International Standard Book Number). It doesn't identify every individual copy of a book uniquely, but it identifies a particular printing/edition/variation of a book. So Penguin's print of Dombey and Son will have a different ISBN to Random House's print of the same title, and so on. Of course, the ISBN was invented after Dickens died and my first edition of the novel accordingly doesn't actually have an ISBN… which kind of scuppers using it as a truly universal primary key! But if we said 'what's the primary key of books printed after 1970?', the ISBN would be a fine candidate.

Anyway, the point is that synthetic primary keys are easy to make 'guaranteed unique' and completely immutable. But, being synthetic, they lack meaning for real people! You don't often go into a bookshop and say, “Do you have a copy of 968-3-16-148710-0, please?”, for example! Thus, whilst they are great for defining uniqueness, they are pretty lousy for using in real life. As such, I want to restrict our thinking here only to natural candidate primary keys from now on.

4.0 Printed Music's Primary Key

So now let me re-phrase my initial question: what is the minimum combination of attributes that will uniquely identify a given piece of printed or hand-written music in natural form? I don't mean CD or DVD music at the point: I simply mean, how do I tell the difference between this symphony and that one, or this piano concerto and that one?

Well, it cannot simply be the name of the composition. Here's a Symphony No. 5:

… and here's a completely different Symphony No. 5:

How can we tell them apart if their names are identical? I think it's easy to see that composition name is not and can never be a candidate to be music's primary key, therefore.

But what if we add in the Composer's name? Would Beethoven+Symphony No. 5 be unique and forever distinguishable from Shostakovich+Symphony No. 5? I think it might well be. The questions to ask to make sure would be: did a composer ever compose a piece of the exact same name twice or more? Unfortunately, I'd then remember that Gustav Holst wrote two completely different compositions called A Somerset Rhapsody and Johann Sebastian Bach wrote two completely different pieces called Prelude in C major …these days, they get given distinct BWV catalogue numbers, but in Bach's own day they would not have been distinguishable by name alone. John Field similarly wrote two distinct Nocturnes in B♭ major… so, at this stage, it's fairly obvious that Composer Name+Composition Name cannot be printed music's candidate primary key!

It gets even worse if you shift the context a bit and ask how you uniquely identify the various parts of (say) a symphony. With Beethoven's Fifth, you could easily distinguish the Allegro con brio movement from the Andante con moto, for example… but don't try that trick with Mozart, who was frequently rather unimaginitive when giving his movements tempo markings: his Symphony No. 11, for example, has movements labelled Allegro, Andante and Allegro: so now try and distinguish between the first and third movements?

Well, this one is not easy to fix, to be honest, without resorting to a little synthetic key trickery! If we add a movement number into the mix, we'd end up with: Mozart+Symphony No. 11+1+Allegro and Mozart+Symphony No. 11+3+Allegro …and those two things are actually unique and distinguishable from each other.

So now our primary key candidate is: Composer+Composition+Movement No.+Movement 'title'

I'll pause at this point to mention that this is actually not a robustly good data model from a strict information theory point of view, since the last component of that candidate key is actually and merely what is called 'derived information'. If you tell me “Mozart+Symphony 11+Movement 1”, I actually already know (or, at least, could look up in Wikipedia to find out) that the movement's tempo indication is 'Allegro'. Similarly, mentioning 'movement 2' would tell me, by implication, 'Andante'. Technically, there's no need to include derived information in a primary key candidate, since the piece of data which gives us the ability to derive that extra piece of data is already sufficiently unique.

Put it another way: by introducing movement number into the mix, we've technically done the same thing as quoting row numbers in a spreadsheet: it's already unique; adding the movement name after that doesn't actually help us get 'more unique' than we already are!

Thus, technically, we only need three pieces of data in our primary key candidate: Composer+Composition+Movement Number. Would these three pieces of information be a good primary key candidate, though?

Technically, yes, I think so. But… but… no-one of mortal woman born actually remembers the tempo markings associated with every one of Haydn's infeasibly large collection of symphonies. If I said “Haydn, Symphony 34, Movement 2”, would you happen to know in passing that I meant the Allegro from that symphony? Probably not. Moreover, would it be of practical use to know the movement's tempo marking? Yes, it is, I think. So, practically, though it's not needed from a data theory point of view, I'd definitely want to include 'movement name' in the proposed primary key. Strict disciplinarians of data modelling would call this 'a flaw in the normalization of the data', but sometimes practically takes precedence over purity!

So, four data attributes are practically required for music's primary key: Composer+Composition+Movement Number+Movement Name.

And I think that's a good primary key candidate for music in its printed or hand-written form. With it, I think we can distinguish between a Haydn symphony and a Beethoven one; or a Beethoven one and a Shostakovich one. We can also tell the 15 Shostakovich symphonies apart from each other. And we can tell Shostakovich's Symphony No 1's Allegro movement (movement 2 of that symphony) is different from Shostakovich's Symphony No. 10's Allegro movement (also movement number 2 of that symphony). Some part of the Composer+Composition+Movement number+Movement name combo is, it seems to me, always unique in all those situations, so I think it's not just the candidate primary key, but the actual primary key for printed classical music.

5.0 Recorded Music's Primary Key

So, we have our primary key for classical music. Case closed? Well… not so fast. When we get to recordings of classical music, I think what we've worked out so far turns out, rapidly, to be unworkable. In other words, let me change the context once more: no longer am I trying to buy a score of a symphony from Boosey & Hawkes: now imagine I'm trying to buy a CD of a symphony from Amazon. Our primary key thus far is completely unworkable, for the simple reason that although Beethoven wrote only one Symphony No. 5, it's been recorded about 12,200 times by assorted conductors and orchestras around the world in the 90 years or so since recording technology made that sort of thing possible.

So if the 'uniqueness context' is now the ability to tell apart Bernstein's recording of Symphony No. 5 from Karajan's, our earlier primary key is not up to the job: Composer+Composition+Movement Number+Movement Name is no longer capable of telling one recording apart from another.

Clearly, what we need to add to the mix is the conductor's name. If we had: Beethoven+Symphony No. 5+1+Allegro con brio+Bernstein we'd easily tell that apart from Beethoven+Symphony No. 5+1+Allegro con brio+Karajan, wouldn't we?

Well, we would…except that the two conductors I just mentioned had a habit of recording the same symphony multiple times! Karajan, for example, recorded Symphony No. 5 five times in less than 40 years. How do you tell his 1950s recording of it apart from his 1962 recording? Or Bernstein's 1961 one from his later effort in 1976? Well, the question rather prompts the answer, doesn't it? If we were to stick a recording date in our candidate primary key for recorded music, those sorts of 'repeat recordings' would be uniquely distinguishable from each other. That makes our candidate primary key for recorded classical music: Composer+Composition+Movement Number+Movement Name+Conductor+Recording Year.

Unfortunately, the next question is equally prompted: did a conductor ever record the same composer's composition in the same year more than once? Well, it's a pretty rare occurrence, I think… but it's not unheard of. Klemperer recorded Beethoven's Ninth symphony twice in 1957, once in the studio and once in a concert at the Royal Festival Hall. Likewise, Toscanini recorded the Scherzo from Mendelssohn's A Midsummer Night's Dream twice in 1929. So, it's quite primary in nature, but it's not perfectly so. To get around the rare exceptions, perhaps we could guarantee that our primary key would cope by borrowing from the synthetic world of the spreadsheet once more. If we made the candidate key the following:

Composer+Composition+Movement Number+Movement Name+Conductor+Recording Year+Recording Number

Then you'd be able to distinguish “Beethoven, Symphony No. 9, 2, Molto vivace, Klemperer, 1957, 1” from “Beethoven, Symphony No. 9, 2, Molto vivace, Klemperer, 1957, 2”. You wouldn't need that recording number differentiator in nearly all cases, but it's there should the occasion arise.

At this point, then, it would seem that the minimum number of data items required to uniquely identify a recording of a part of a composition is: seven. We finally have our answer!

6.0 An Intrusion of Practical Considerations

I want to pause again at this point. We now have arrived at an answer to our earlier question: to uniquely identify any individual track (i.e., movement) of an LP or CD, we appear to be proposing a 7-component natural primary key. The problem I have with that 'answer' is that whilst it seems a logically-robust answer, it's difficult to imagine working with that length of primary key in a very efficient or practical manner. We also have to intrude the theory discussion with matters of software practicality: would assorted software media players even be able to function with a 7-component primary key?

Take, for example, the Clementine media player (it happens to run on Apple, Windows, Linux, Raspbian and probably a few other operating systems besides, so it's a reasonable approximation for a 'universal' media player). How does it organise it's principal display of music? Like this:

Though there are seven built-in grouping options listed (select any one of them and that also becomes the default sorting order of your music library display), you'll notice that none of them allows for more than three identifying components? For example, “Group by Artist/Year - Album” and “Group by Genre/Artist/Album” both only offer three grouping and sorting data components. Nowhere is there a listing of a 7-component grouping function!

To be fair, “Artist - Year - Album” is sort of like the “Composer - Recording Year - Composition Name” elements of our proposed primary key, so we could usefully group (and sort) by three of our seven primary key components. Which is great -but means the remaining 4 would end up not being a grouping or sorting consideration, and that would break the functionality of the player. Looks like we're out of luck then, practically! Unless… Is anything available to fix this under that 'Advanced Grouping' option?

Turns out… not really:

Here, you certainly get to choose which three data items to group and sort by, choosing from drop-down lists, but three element grouping is still your limit.

This would seem to be a failing in Clementine -but you'll find most media players do the same sort of thing, largely because if they did allow you to sort and group by all seven primary key elements, the display would end up being an unholy mess. Think of it: you'd have a list of composers; click on one of those and you'd get taken to a list of compositions by that composer; click on one of those, you'd get taken to a list of all the movements belonging to that selected composition and so on. You'd have to click seven times before you got to a unique track of recorded music that could actually be played. Functionally, therefore, using such a long composite key would be a bit of nightmare.

Yet, theoretically, a 7-segment primary key still seems to be necessary.

Is there a resolution to this apparent paradox?

7.0 Paradox Resolved!

Summing up: We need 7 data elements to uniquely identify any specific piece of recorded music (down to the individual movements making up a symphony or concerto, or the individual arias or recitatives making up an opera, or the individual songs in a song-cycle). But, functionally, we need to restrict ourselves to just three. To cope with this functional 'restriction of three', we will need to combine some of our separate data elements into a single, aggregated data element. We should also remember that some of our primary key elements are actually derived information -so, strictly speaking, they don't need to be in the primary key at all.

So first, let's prune out the derived information: Composer+Composition+Movement Number+Conductor+Recording Year+Recording Number

…gone is the Movement Name as a piece of plain text. We're back to thinking just in movement numbers. We'll always want to see plain text names, of course; but we don't need to use them functionally in a grouping or sorting discussion. For one thing, symphonies would sound very odd if we played their movements in alphabetical order! So we're already down to just 6 key data elements -though that's still three more than we are allowed.

So now it's time for some combinations! If we move the conductor and recording year details up the hierarchy, we can achieve a useful bit of concision, like so:

Composer+Composition [Conductor+Year+Recording Number] + Movement Number

Think about it: if Karajan recorded something in 1961 twice, then all three of the elements I've put in square brackets there kind of travel together. They're all dependent on each other, in other words. You couldn't change the conductor name, for example, without that immediately implying the year and recording number were different, too. So that kind of implies that you could treat all three components as a single data entity, not as three separately-independent entities. This in turn means that we'd catalogue things as, for example: “Beethoven, Symphony No. 5, (Karajan 1962 1), 1”: that immediately takes us down to just 4 data elements, which is getting awfully close to the three we'd like to get it down to!

But we can go one step further: these 'conductor-year-recnum' elements are themselves sort of dependent on the composition name, not in reality (I'm sure Karajan conducted lots of things in 1962), but practically: Karajan recording something in 1962 is pretty useless information to have if we don't know what he conducted, isn't it? So, in that sense, knowing “composition+[conductor+year+recording number]” as a single piece of information makes sense.

What we'd be doing at this point is saying that a particular recording of Beethoven's Fifth Symphony is intrinsically the composition itself (obviously) plus the conductor and the year of the recording. The composition name ceases to be an independent item of data, but needs to be 'attached' to the name of the person recording it. I therefore refer to the result as the extended composition name: it's the 'regular' composition name that Beethoven himself would have known plus the conductor+recording year (and number, if needed). We then have to generalise a bit, because I'm sure you'll have recordings of works that aren't symphonies and maybe don't have a conductor: think of string quartets, for example. So rather than saying that the extended composition name is composition+conductor+year, we should say it's composition+distinguishing artist+year.

By “distinguishing artist” I mean: the person, or persons, who make this recording distinctly different from that one. It might be Karajan versus Bernstein; or the Amadeus Quartet versus the Maggini; or Callas versus Sutherland. It doesn't particularly matter who makes this recording distinguishable from that one, so long as it's an identifiable name.

I'm therefore proposing that you catalogue your recorded music in the form of, for example:

Benjamin Britten - String Quartet No. 1 (Emperor - 2005)
Gustav Holst - Symphony 'The Cotswolds' (Davis - 2018)
William Walton - Henry V (Barenboim - 1977)

…and so on. Should necessity ever arise:

Ludwig van Beethoven - Symphony No. 9 (Klemperer - 1957 #2)

Obviously, within each of these recordings, too, there'll be multiple movements that uniquely-numbered movement identifiers, to get us back to our threepieces of uniquely-identifying primary key data.

A subtle point here is that the extended composition name, including the distinguishing artist name, should always be used, even if it happens that in your collection at the moment there's only one recording of a work that doesn't really need to be distinguished from any other recording of it.

You might think, for example, “Since, I only have the one recording of Turandot, it's already unique in my collection, therefore I only need to mention 'Turandot', not 'Turandot (Callas - 1957)'”. Remember: the point of a primary key is to be able to uniquely identify data in any conceivable context. That you only own one Turandot today doesn't mean you won't buy another version of it in the future… and at that point, you'd have a differentiation problem if you hadn't already dealt with the primary key issue up-front. Put simply, this means you should always specify an extended composition name (and thus use a distinguishing artist name) for all your recordings.

The key point is that by constructing this extended composition name, we've just reduced the number of separate components required in our primary key candidate for recorded music to only three elements: Composer Name+Extended Composition Name+Movement Number. Clementine can cope with that as a default sorting and grouping arrangement: so can every other music player on the planet! What's more, it means there will never be more than three clicks needed to start playing a unique recording of something.

Job Done! … Or is it?!

8.0 A Modified Solution: Bring on the Genre!

So, the proposed cataloguing scheme for classical music is:

Composer → Extended Composition Name → Movement number

…where the “Extended Composition Name” is itself comprised of: Distinguishing Artist Name, Recording Year and Recording Number if needed.

This will work quite nicely, but it will get quite “chunky” at times. Benjamin Britten wrote only 93 published pieces in his lifetime, which is manageable. But J.S. Bach wrote over a thousand of them, which isn't. Mozart wrote over 600 of them, which is also unmanageable as an undistinguished lump of music! What I mean is that if you are scrolling through 93 recordings, that's fine; but trying to scroll through 1000 of them and hoping to pay attention to each one as they pass your glazed eyes is going to be a much tougher ask! Bear in mind, too, that for any given composer, if we sort by Extended Composition Name, they're going to be in alphabetical order, so your Cantatas will be at the top of the list and the Xylophone Concerto will be at the bottom: that's not a lot of fun if all you want to listen to is the Xylophone Concerto one day! If you have to scroll through hundreds of A, B and Cs to get to the V, W and Xs that you're actually interested, the organisation scheme might be technically good, from a data theory point of view: but it's hopeless for creating a practicably navigable music library.

What you need, therefore, is to sub-divide a composer's output in some meaningful way: and I'm going to suggest that you chop it up by the specific 'genre' it belongs to. By this I mean you can listen to pieces by Bach (say) and declare them to be 'an organ piece', 'a choral piece', 'an orchestral piece' and so on. For Britten's output, you might divide the compositions into 'choral', 'keyboard', 'concerto', 'vocal', 'opera', 'radio & film' or whatever other musical sub-division makes most sense to you.

I've prepared a list of the broad genre classifications I would recommend in another article. The proposals aren't academically rigorous: I'm not proposing you split your opera seria from your opera buffa, for example: just 'opera' as a broad classification is more than sufficient for all cases that I can think of! In short, we're not trying to prove how musicologically educated we are: we are simply trying to minimise the amount of scrolling that has to take place when we want to play a specific piece of music.

Of course, this introduces a new element into our proposed 'primary key of recorded classical music': we're now up to Composer + Genre + Extended Composition Name + Movement Number

It allows you to click Bach → Cantatas and now you'd swiftly be able to find BWV 67, because it's not embedded in a list of 1000 other compositions, but appears in a list of only around 220 cantatas. Adding the genre into the mix isn't technically needed to uniquely identify a specific recording, in other words… but it makes it practically a whole lot easier!

Now, you will probably have worked out already that the genre is merely 'derived information': if you tell me the composition name is 'String Quarter No. 3', I already know it's a chamber work, without that needing to be spelled out. If you say it's a 'Violin Concerto', then the fact its genre is 'concerto' is a bit of given, too! Data purists would therefore correctly contend that the music's genre should not be part of a primary key, since it's dependent on something that's already there (namely, the extended composition name). Purity must go out the window, however, when practical considerations arise: and in this case, the need to 'chunk up' the large output of certain composers into manageable sections outweighs concerns about the derivative nature of the genre data item. So genre stays in!

But surely I've just made our primary key four data items long again… and earlier I was crowing about how good it was that I'd got it down to three! Isn't the extra data item going to break lots of music players?

No, is the short answer to that, and to explain why, take a look at this screenshot:

The list on the left-hand side of the screen is handling the first three of our primary key requirements: composer name is displayed first. Within that, we see different genres. And within the Symphonic genre in this specific case, we see the various compositions with their extended names (including the name of their conductor). But how is the fourth element being handled? Well, look on the right-hand side of the screen. The individual movements of a selected symphony are listed in track (i.e., movement) number order.

Most media players will do things this way: the tracks within a selected recording will be displayed in one area of the screen, ordered and sorted by 'track number'. How you get to a specific recording is usually handled in a different part of the screen which is ordered, grouped and sorted by the first three components of our primary key.

So, Composer → Genre → Extended Composition Name → Movement Number will work perfectly well in all known music players on all known conventional operating systems (proprietary hardware using restricted displays and unusual ways of accessing music have their own ways of doing things, so all bets are off for them!). Three of the primary key components are handled in one part of the program display, the fourth is handled in another part. Organising your recorded music in this way, therefore, provides a highly functional, flexible, scalable way of allowing you to access any particular piece of music in seconds.

The reason it does so is because it's based on a good data model: working out what minimum pieces of data are required to get to a specific recording of a work, taking into account the practical issues of having to work with a media player that does things certain ways, and also keeping in mind the practical difficulties associated with wading through huge numbers of compositions that certain composers wrote in their busy lifetimes.

9.0 But what about all my other data?!

At this point, there's a certain inevitable concern that creeps into some people's minds: if you've reduced my music library down to just four pieces of unique data, how do I find music in the key of E flat? Or how do I find all the recordings of Galina Vishnevskaya? Or, how do I see and work with <list some obscure piece of recording-iana here>?

The answer is fairly simple: the primary key of a piece of data is merely the shortest way of accessing everything else about a piece of data, distinct from any other piece of data. It's not, in itself, the only data that exists about that entity.

By way of analogy: the row number and column letters in your spreadsheet aren't the data you're really interested in, are they? They're simply the piece of data you use to quickly find and locate the data you're actually interested in. “Where are the sales figures for the Consultancy division for 2018?” is the question: “Row 67, column G” comes back as the answer. 67G isn't, then, a piece of information of value in its own right, but merely the 'address' where you can find the information which is valuable.

The same is true in this scheme of finding recordings of music. “Beethoven, Symphonic, Symphony No. 5 (Karajan 1962)” is merely the key to finding the four tracks or movements that make up that recording. That the piece was played by the Berlin Philharmonic is not an unimportant piece of information, but it's not the way you organise your music library or make one recording identifiably distinct from another. It's a piece of data that you fetch whenever you supply the 'primary key' data elements. Which is to say, click through composer, genre and extended composition name, your music player will display the tracks that belong to that specific recording -and each track will have additional data embedded within itself which can be inspected (or searched for).

The other data you might want to store about a piece of music is generally quite highly unstructured text. That it's in C minor; that the recording engineer was John Culshaw; that it was recorded on a Saturday morning after a big night out the previous Friday: all of this stuff can be recorded if you want it to be. Generally, however, I would personally only really want to store the full details of the performance or performers for any recording: remember, at this point, we've only got the surname of one 'distinguishing artist' recorded as part of the composition name. How about mentioning that the Oslo Philharmonic is playing, that Ben Titmarsh is playing the flute, and that Jeremy Twiddlethorpe is singing the solo treble part, for starters?

The key thing to understand at this point, however, is that this sort of information isn't as “significant” to a music player as the four pieces of information we've declared to be the 'primary key' of recorded music. The composer, genre extended composition name and track number data items are crucial to finding the music in the first place, so they are necessarily highly structured and standardised data items. By this I mean you don't want to type the composer's name as “Beethoven” for one recording and “Beethoven, Ludwig” for another -because now you have two data items describing the one composer, and that means you'll have two things determining a sort/grouping order. Functionally, it means your music player will list Beethoven's music in two completely different places, which destroys the concepts of discoverability and functionality we're aiming for.

So, those 4 primary key data items need to be entered and stored in a highly consistent manner (though you get to decide on what that consistently-used format should be, of course).

But everything else is pretty much just free-form text, with no requirement for rigid rules and consistency. Want to call it the “BPO” for one recording and “Berlin Philharmonic” for another and “Berlin Philharmonic Orchestra” for a third: be my guest, in the sense that no-one will stop you doing it and no fundamental music-discovery process will be harmed by you doing it.

Except… if you're the kind of person who ever approaches their music collection and idly wonders, “I wonder if I've got a recording that involved Herbert von Winkleman playing flute with the Berlin Philharmonic, you're going to get into trouble if you have been inconsistent with how you entered data about which orchestra was playing. It's easy to do a search in most music players for “Berlin Philharmonic”, for example. But if you've entered the crucial data as “BPO” on the one recording you've got of Winkleman playing flute, you're search isn't going to find it!

For this reason, whilst it's not a strict requirement to type in non-key data in a highly structured, organised and consistent fashion, it makes practical sense to try to do so.

For myself, I only ever record four things about a recording that aren't in the already-mentioned primary key: Full conductor's name; Orchestra's name; Choir's name; Soloists name and roles.

Obviously, not every recording will feature a Choir; chamber works will not feature a conductor, choir or orchestra! So I might not type in every one of these four items for every recording, but when I do, they'll be in that order and I'll try to be consistent about it: if it's 'Wien Philharmonie' on recording, it won't be 'Vienna Philharmonic Orchestra' on another, for example.

And where do I type these extra pieces of lightly-structured free-form text? There aren't many places offered by most tagging software where large amounts of free text can be typed comfortably. Take this screenshot, for example:

That list of performers you see at the bottom of the screen is quite long (234 characters long to be precise). It could have been typed into any of the displayed fields (apart from the four associated with the primary key, of course!). I've chosen to stick it in the COMMENT field. Why not use the LYRICS area, which is just as big? Because most music players will display comments (though some will have to be configured to do so). Many will not display lyrics. It's as simple as that, really.

Why not stick it in the PERFORMER field, which seems ideally named for it? Three reasons, really.

First, it is displayed in this particular software as quite a narrow field. That doesn't mean PERFORMER can't store 234 characters or more of data: there's no practical limit on what any of these fields can store these days. But if only a small part of it is displayed at a time, it will be difficult to type it in or read it back.

Second, a lot of music players will display and search COMMENT tags: it's a 'standard' tag that most media players expect to find. LYRICS and PERFORMER are not quite so standard, and a lot of media players simply won't know they're there in the first place.

And third (and possibly the most important): it really doesn't matter what your tags are called. Every single tag in a FLAC file is simply a key-name=value pair. None have a formal data type associated with them. I mean, for example, that though there's a tag called “DATE”, if you choose to type the word 'violin' in there, no-one will stop you doing so. There is no external validator looking at what you put into your tags saying 'that's not the sort of data you should be entering there!'. So, you type in the data that's important to you in whatever field (i.e., tag) that your favoured music-playing software presents and uses in the most effective manner, keeping in mind as you do so that what your favoured music-playing software is today might be different tomorrow!

This last point is important too. Clearly, Clementine likes to display COMMENTs in large areas of text. It was my daily driver as a media player. So I'm happy… for now. The real question to ask yourself, however, is do other media players and software work similarly. If they do, then Clementine isn't just being unique and peculiar, so playing to its particular strengths today won't screw you over if you ever switch software in the future. So, is Clementine unique in the way it handles the COMMENT field? Well, here's dbPoweramp on Windows:

Notice how long the 'Comment' field is at the top right-hand corner of the program display area? In fact, it appears to have no end, just running directly into the right-hand edge of the program display area without a pause. Practically, it really does accept any huge amount of text you type into it. But notice that all the other data fields are formally limited in size: they will certainly accept long data entry, but its display will be truncated, making viewing it all (and thus inspecting it and editing it into shape) problematic.

Here's another example, using a piece of software called TagScanner:

Again, spot that large area for free-form comments over on the right-hand side of the screen; spot the very-tightly constrained sizes for all other tag fields, too. So a pattern emerges that a lot of audio-related software expects COMMENT to be long and full of data that needs to be displayed in large, long fields, not short, little ones.

On the other hand, it doesn't always work that way, of course. Here's MP3Tag, a very popular tag editor on Windows:

Note that in this software, the COMMENT field is strictly size-constrained like all the others -and in consequence, the display is severely limited and clearly runs off to the right of whatever the program manages to display. Again, this doesn't mean the program can't actually store long data in that field; it merely can't display all of it at once.

So the point is that software is varied and does different things in different contexts. So it's possible that telling you to store a lot of data in COMMENT might not be right for you and your particular choice of software -but it's the only tag that a lot of software displays in large format and it's one of the 'standard' tags that nearly all software can display and search in, without lots of re-configuration effort required. So my recommendation stands!

Accordingly, my four non-primary-key pieces of data about a recording (conductor, orchestra, choir, soloists) are always entered into the COMMENT field for each music file. I naturally suggest you do likewise -but feel free to add other bits of data into it, too, that you find useful to know about a recording.

Once that sort of non-key data is stored in the COMMENT field, most music players will let you display it if you want to -or at least search through it and filter by it if you need to. Once you've recorded “John Thistlethwaite (oboe)” in a COMMENT tag for a recording, you'll be able to search your entire music collection at any point for any recordings on which Mr. Thistlethwaite ever played.

10. A final thought about non-key data

For my own recordings, the COMMENT tag only ever stores the four pieces of non-primary-key data I've already mentioned a couple of times: distinguishing artist's full name, orchestra, choir and soloists. Some people insist on storing all sorts of other data they might find interesting about a recording, though… such as recording engineer, location, record label, record label's catalogue number and so on.

My first response to this is: don't do it. A recording may once have been released by Decca, but is now on Philips, because both are owned by Warner: record label is a meaningless way of finding or organising music to play! I'd same the same about all the other items I've mentioned too: would I ever sit at my PC and say, “Hmmm… I feel like listening to something John Culshaw was the recording producer on?” No, much as I revere the man. So it's pointless storing that data inside your digital music files.

My second response is: your music files are not the only source of information in the Universe. If you are ever sat there wondering what wonderful recordings Culshaw produced, you can look it up on Wikipedia. There's no point over-burdening your music files with amorphous data which can better be found online or, dare I say it, in the CD booklet!

So, my strong advice is: don't try storing this stuff at all… but if you absolutely insist on it, you should find yourself a music file tagger that permits the use of Custom Tags, and load the data into your music files that way. Don't overburden the COMMENT tag with all this extra stuff, in other words, but find distinct homes for the data in other tag fields. You'll find, for example, that my own Semplice tagger permits up to 9 custom tags …though the data, once stored in these extra tags, tends not to be display-able or search-able by any music player I've ever known. Meaning, again, that I personally would consider it a waste of time to store this stuff in the first place!

11. Universality

Do these music tagging suggestions apply universally? They surely do, though that doesn't mean they will necessarily and always apply to your very special and particular way of interacting with your music collection! People are unique, of course, and so it's entirely possible you interact with music in a unique way that this proposed organisation scheme cannot possibly accomodate.

Whenever I've been dealing with people who say, 'Oh, your scheme won't work for the way I listen to music', however, almost without fail, it will turn out that they are using a specific piece of audio hardware; or that they don't actually know fully how their music software works and have thus accommodated themselves to its 'failings' without understanding that those 'failings' are trivially worked around. On at least two occasions, I've been told 'your scheme won't work for me', only to find out that on both occasions, it's because the individuals concerned can't actually be bothered to tag up their music at all! For sure, if you can't be worked up enough to tag your music files properly, then no organising scheme on Earth can help you out of the hole you've dug for yourself!

But, assuming you are using standard desktop computers or mobile phones; assuming that you care enough about your music to want to organise it efficiently and effectively in the first place; and assuming you are therefore prepared to put in a little effort in assigning appropriate metadata tags to your digital music files… then, yes: the scheme I've just outlined above will and does apply universally.

By that, I mean, these ideas will work for every music player I know about, on every operating system I've ever used, and one's access to your music will remain fast, efficient and effective on all of them. The fundamental reason for that is simply this: the data model is sound: correctly and technically identifying key-data and distinguishing it from non-key data is the crucial ingredient here. If the data model is sound, it will be portable across players, devices and operating system environments, without drama.

Remember that all music players display music in a default way: the use of a 'primary' key as I've suggested here will ensure that your music is always sorted in composer/genre/extended composition name order, which is the natural way to identify any one recording distinct from any other. Most music players of my acquaintance will default to this sort of sorting/grouping order out-of-the-box, or with a very little bit of re-configuration. Hence, what information theory says is the most efficient way to retrieve a specific recording turns out to be the 'natural' way most music players are configured to organise things, too. (Coincidence? Not, I would say!!)

Remember, too, that if you expect to be able to find music by ways that aren't the “natural” way, that's entirely fine too. A proposal to order data one way shouldn't interfere with your rights and ability to access data in other ways. The fact that you can only order data in one way, but that there are an infinite number of different ways to access data, inherently and implicitly means your music playing software must offer the ability to search comprehensively through all your tags, rather than just stick to displaying information sorted by a handful of them. Fortunately, the bar is quite a low one to clear: provided your music player allows searching the COMMENT tag, and also provided that your non-key data is stored coherently there, then you'll always be able to use the media player's search functionality to filter your music collection by it.

Of course: if you're using some obscure audio playing/management software on a hardware platform I've never used to achieve something other than fast access to a specific recording, these proposals may well not apply to you. That makes you the 1% exception that otherwise proves the rule, I'm afraid. I wish I could meet your exacting and unique standards, but if the above doesn't do it for you, then you really are on your own. (Which is a polite way of saying, if you insist on fighting basic information theory, I can't help you!)

12.0 Conclusion

For some reason that I have yet to understand, the topic of how best to tag classical music tends to engender a lot of heat and anger rather than light! I think it's because what I've documented here seems to be telling people “you've been doing it wrong all these years!” and they get somewhat defensive as a result.

And, to be fair: I probably am saying they've been 'doing it wrong' to some extent. In my professional data management opinion, the tagging/sorting/ordering scheme I've outlined here is the only natural one available -and it happens to be extremely efficient and scalable, too -because it seeks to specify the minimum data elements required to achieve a unique 'hit' on a specific recording of a specific composition. It's because it's soundly based on information theory principles that it works so well: but you needn't care about them, just the fact that your huge music library is easily navigable and highly discoverable.

In short: I commend the Composer/Genre/Extended Album Name + extensive use of the COMMENT tag to you, anyway… and look forward to hearing from you if it fails your specific needs.

In a second article, I examine in much more detail the sorts of things that affect what you put into the various FLAC metadata tags that are available to you in more detail, but I think this article has outlined the general principles enough to be going on with for now

macostweaks

Anonymous (anonymous@undisclosed.example.com) — 2026-03-19T19:15:45+00:00

Connect from iMac to Debian to run Giocoso

The point here is: iMac wants to effectively ssh to a Debian PC to run Giocoso. But if the network is clobbered for any reason, Giocoso shouldn't just die: it needs to persist regardless of the state of the iMac↔Debian connection.

On the playing (Linux) PC:

sudo apt install dtach

Dtach is a session manager or detachable process wrapper. It provides the same sort of “detach” and “reattach” to session features of a multiplexer such as screen or tmux, but without doing those programs' “terminal emulation” job that can sometimes mess up graphical display components (such as Giocoso's album art display).

Once the Debian PC has dtach installed, create this AppleScript on the iMac:

tell application "iTerm"
set newWindow to (create window with default profile)
delay 0.5
tell current session of newWindow
	write text "ssh -t hjr@langlais \"rm -f /tmp/giocoso_socket; dtach -A /tmp/giocoso_socket -z /usr/bin/giocoso3.sh\""
end tell
end tell

That says to open iTerm, ssh to the Debian box (mine's called “langlais” and my username here is “hjr”). It then says, “when you're connected, wait half a second for things to settle down, then use dtach to start a new session and within that session, run Giocoso”. If the network dies between the iMac and the Debian box, the session persists… and the music keeps playing!

Save the AppleScript into the Applications folder as an application (not as a script, script bundle or text file). You can right-click the saved application icon in Finder and use 'Get Info' to display the script's details and then copy/paste in an appropriate image for the 'application icon'.

Create a Program Launcher for Giocoso, Accessing Music Player Remotely

The Script Editor allows you to create Apple Scripts. Click New Document and paste this lot in:

do shell script "/opt/local/bin/bash -c '/opt/local/bin/wezterm -e ssh -Y -t hjr@frank \"tmux new-session -A -s giocoso \"/usr/bin/giocoso3.sh\"\"'"

File → Save and then give it a name, save in the Applications folder, and be sure to select File Format = Application.

Note that that's the version for Macports on older versions of macOS. On the latest, greatest Tahoe, the path to wezterm and bash (having been installed by Homebrew) are different. The command there would be:

do shell script "/opt/homebrew/bin/bash -c '/opt/homebrew/bin/wezterm -e ssh -Y -t hjr@frank \"tmux new-session -A -s giocoso \"/usr/bin/giocoso3.sh\"\"'"

In either case, the script says “launch Wezterm terminal then ssh to my music player PC and use tmux to create an uninterruptible session in which Giocoso will run”.

If you wanted to run the program locally, you'd simply do:

set myCommand to "/opt/homebrew/bin/bash -l -c /usr/local/bin/giocoso3.sh"

-- Calling the binary with just the command arguments skips the 'default' window logic
do shell script "/opt/homebrew/bin/wezterm start -- " & myCommand & " > /dev/null 2>&1 &"

delay 0.5 -- Give it a heartbeat to spawn
tell application "WezTerm" to activate

Replace mention of “giocoso3.sh” with, for example, “semplice2.sh” to get other bits of my software running locally, too.

To assign the new application a program icon, right-click its icon in Applications, select Get Info. Drag the required program icon to the top-left of the resulting panel:

Get the little icon correct in the top-left corner and the big icon in the lower part of the panel will come right, too. Once it is, close the panel and the launcher in Applications will look correct, too.

Configure Wezterm Terminal to look nice

Wezterm Terminal can be installed with Homebrew or MacPorts:

brew install wezterm

…or…

sudo port install wezterm

WezTerm will tend to want open by default using a small window with small fonts: I suggest you would want to change that up a bit. The way you do that is to issue these commands:

cd
nano .wezterm.lua

Paste into the new file the following:

local wezterm = require 'wezterm'
local config = wezterm.config_builder()
config.initial_cols = 103
config.initial_rows = 28
config.color_scheme = 'BlueBerryPie'
--config.color_scheme = 'Tokyo Night Light (Gogh)'
--config.color_scheme = 'Tokyo Night Storm'
--config.color_scheme = 'Hopscotch'
--config.color_scheme = 'Ic Green Ppl (Gogh)'
--config.color_scheme = 'Ic Orange Ppl (Gogh)'

config.font = wezterm.font("Inconsolata", {weight="Regular", stretch="Normal", style="Normal"})
config.font_size = 16

return config

Save the modified file. Hopefully, most of this is self-explanatory: it tells WezTerm to open at an initial 103 columns by 28 rows; to use a specific font at 16pt size. Notice how you comment lines out in this file: two dashes, not the '#' you might be familiar with from other scripting languages. The above also mentions a number of built-in colour schemes, with “BlueBerryPie” being uncommented and thus the active scheme. You'll have to experiment as you wish! Other colour schemes (lots of them!) are available: you don't need to download them, just paste in a “config.color_scheme = xxxxx” line into the file in the appropriate place.

Note that if you have alternative fonts available, simply swap their name (eg, “Luxi Mono” for “Courier New” in the above script, leaving everything else the same. You can, of course, have multiple “config.font” lines in the same file, with all bar one of them commented out, so you can also experiment with different choices of font as the mood takes you.

Some Apps

Firefox can be downloaded with Safari! Visit their website and download it directly. Vivaldi is much faster, however: visit their website, download and install in the usual fashion.

Commander One is a good file manager: direct download from their website. On the other hand, it pays to learn to set up Finder's left-hand navigation pane correctly (with placeholders for your home folder, etc) and then Finder is plausibly usable.

Nice text editor: Geany, also directly-downloadable from their website. I also like CotEditor.

Rectangle for Windows snapping (Monterey doesn't do it natively, I think: I even install it on to Tahoe, however, because I think it's better than the native windows snapping [which you have to disable when prompted]).

Virt-Manager is installable via Macports and/or Homebrew (See, for example, this article). Looks revolting, with terrible screen resolution and fuzzy appearance, but it works sufficiently, though GUI connections to the guest desktop will fail frequently (but can be restarted as necessary). Note that I've always found Virt-Manager an awkward tool to use and have thus recently given up trying to do KVM on a Linux server altogether. These days, I use Proxmox for all my Intel CPU virtualisation requirements and interface with it via a standard browser on my physical PC: the looks and resolution are perfectly fine in that environment.

UTM is installable for free and is a nice virtual machine hypervisor, in the same way as VirtualBox is (but without coming from the House of Oracle). Works nicely for Windows and Linux VMs and, on the lastest M4 iMacs, it will virtualise macOS environments too. One word of warning: if you're virtualising macOS in UTM, you may well find that terminals like Kitty and WezTerm won't launch because they depend on an accelerated graphics processor -and UTM doesn't pass through your physical PC's graphics hardware. I've found, however, that iTerm2 can be installed (e.g., brew install iterm2) and will run successfully and it can display sixel graphics correctly, so Giocoso displays album art perfectly fine in it. Note that UTM doesn't do snapshots of VMs. Tools that claim to provide a wrapper around qemu to do this rely on finding qemu in a Homebrew-specific location, so won't work if you're using Macports…

CrystalFetch ISO Downloader works with UTM in a synergistic manner to enable the easy downloading and creation of Windows 10 and 11 ISOs.

PDFGear is a free PDF viewer and editor. Handy for adding individual PNGs or JPGs to the official PDF booklets of a CD.

Homebrew

First install the tools needed to compile new software:

xcode-select --install

After that, follow the instructions at their website.

Once installed:

echo >> /Users/hjr/.zprofile
echo 'eval "$(/usr/local/bin/brew shellenv)"' >> /Users/hjr/.zprofile
eval "$(/usr/local/bin/brew shellenv)"

These commands are shown to you at the end of the installation anyway, so just do them as provided: the “hjr” bit of the above is obviously specific to me!

To get Giocoso installation script downloaded, you're going to need the wget utility and a modern version of Bash, so my suggestion for your first test of Homebrew is to issue the command:

brew install wget bash

It will take an age to compile. Just be patient…

Installing Macports

The alternative to Homebrew for installing new packages on macOS is Macports, which has the advantage over Homebrew of running on older macOS versions (Homebrew won't support installing things on Monterey, for example, though it will still work for the most part: there's just no support for getting it to work).

Do not use both Macports and Homebrew: it's one or the other, but never both at the same time. All hell lets loose when you mix your package managers!

To install Macports:

First install the software compiler toolchain:

xcode-select --install

After that, download the appropriate package for your version of macOS:

These URLs are obviously version-dependent and the versions shown are only correct at the time of writing (December 2025). Check the Macports website for the actual versions current at the time you want to install. There are versions available for macOS releases earlier than Sierra, but installing Giocoso on such ancient operating systems is definitely not supported at all, so be my guest but you're on your own for them!

You will need wget and a modern version of Bash to be installed before you can obtain the Giocoso installer:

sudo port install wget bash

After that, wget software.bbritten.com/gioinst.

NFS Mounts

They work much as in Linux, but with one key extra mount option required:

192.168.137.1:/music /opt/nfs/music nfs rw,noowners,nolock,**resvport**,bg,hard,intr,tcp,rsize=65536,wsize=65536,readahead=128,noatime,actimeo=30 0 0

The “resvport” option is essential to get an NFS mount working on macOS properly.

Note that I am used to setting much larger rsizes and wsizes on Linux boxes doing NFS mounts, but I am led to believe that macOS gets a bit upset with huge settings for those options and that 65536 is the “correct” size for these things in this environment (see multiple online sources and forums ad nauseum!)

Giocoso Playback Issues

There is no ability to pause play in Giocoso on macOS. Pausing the ffmpeg process doesn't pause whatever the macOS audio subsystem is up to in the background (unfortunately), so that when you resume play, the audio subsystem says “Oy, real time clock was at Y but is now at Z, catch up”… and ffmpeg does what it's told. The only workaround would be to literally kill ffmpeg with a note of where it was up to and then resume with the ss starting switch. Clunky and I'm not up for coding that as yet… For now, the pause/resume buttons have been removed if macOS is detected as the operating system in use.

ImageMagick Issues

Installing ImageMagick in a Homebrew setting is an absolute nightmare (without which, Giocoso cannot show album art and instead shows error messages). The 'brew install imagemagick' fails on my Monterey macOS, because it tries to check for Unicode support, can't find the relevant library and thus gives up (the error is “ICU support no…”).

A very awkward workaround is possible:

brew install icu4c@78 pkg-config autoconf automake libtool
cd /tmp
curl -LO https://download.imagemagick.org/ImageMagick/download/ImageMagick.tar.gz
tar xzf ImageMagick.tar.gz
cd ImageMagick-*

./configure \
  --with-icu \
  CPPFLAGS="-I/usr/local/opt/icu4c@78/include" \
  LDFLAGS="-L/usr/local/opt/icu4c@78/lib"
  
make -j4
sudo make install

I mean, it works:

You can see the ghastly software compilation in the background, resulting in Giocoso in the foreground having no problem displaying album art… but it's a heck of a way to get to the desired destination!

An entirely different error stymies ImageMagick's installation on Catalina, too: this time, the problem will be that libzip can't be installed. The fix here is to issue these commands:

  cd
  cd Downloads
  wget https://imagemagick.org/archive/binaries/ImageMagick-x86_64-apple-darwin20.1.0.tar.gz
  tar -xzf ImageMagick-x86_64-apple-darwin20.1.0.tar.gz
  sudo mv ImageMagick-7.0.10 /usr/local/ImageMagick

  sudo nano /etc/paths
  At the top of the file, add a new line reading: /usr/local/ImageMagick/bin
  sudo cp -R /usr/local/ImageMagick/lib/* /usr/local/lib
  sudo cp -R /usr/local/ImageMagick/bin/* /usr/local/bin

Which is to say, download a quite old binary version of the program and manually copy it into places that the system will discover it exists.

Tweaks

Helios Screensaver: https://helios.macupdate.com/

Giocoso, Semplice and Niente all look fine in iTerm2 (or Wezterm). The problem with iTerm2, however, is that it 'remembers' each screen that any of those programs draws. You can therefore scroll back to see them at any time -which isn't terribly useful and rapidly becomes very annoying, given the ease with which it's possible to make accidental 'scroll up' commands by merely looking at your Magic Mouse! It's very easy to therefore end up with this sort of mess:

That's me sitting on the Reporting menu of Niente in the bottom part of the screen… but above it is a rendition of the screen when I was sitting on the Integrity Checks menu. Switching between menu items, in other words, creates an 'alternative screen' that is viewable if you scroll upward from the current screen. It is of no use to man or mouse (and WezTerm doesn't suffer from it!). Fortunately, it can be disabled in iTerm2:

Disable the option to 'Save lines to scrollback in alternate screen mode' in the program Settings → Profiles → Terminal dialog. As well as making that change, however, you also need to add an alias for each affected program in your .zshrc file. For example, for Niente, you'd need this line:

alias niente='tput smcup; /usr/local/bin/niente4.sh; tput rmcup'

So, type the command cd to get to your $HOME folder, then nano .zshrc and add a line like that to the end of your existing file (or create a new file if no existing lines are present):

Save the modified file then close down your existing iTerm2 sessions and launch a new one: you'll find that Niente (in this example) no longer scrolls upwards: the screen you see is the one (and only one!) you get.

Replace “niente” and “/usr/local/bin/niente4.sh” with “giocoso” and “/usr/local/bin/giocoso3.sh” to achieve the same effect for Giocoso; use “semplice” and “/usr/local/bin/semplice2.sh” for Semplice.

As a general rule, Apple really locked security down tight from Mohave on, particularly in preventing terminal sessions from controlling other things on your system. That's a problem for programs like Giocoso and Niente, because they want to launch subsidiary terminal sessions to display reports, for example. The tightened security tends to want to stop them from doing that! Be prepared to visit System Preferences → Privacy & Security and grant full disk access to all your terminal emulators (or just the one you intend to use to run Giocoso et. al.) You'll also need to visit Automation and ensure that your various emulators are allowed to launch Terminal. All sorts of pop-ups (about accessing network shares, removable media or particular folders within your $HOME) will appear, too: make sure you grant the programs the permissions they need to work properly.

Shortcuts

Command + Shift + 4, then spacebar : Screenshot a particular window
Command + Shift + 4 : Screenshot a rectangular region
Command + Shift + 3 : Screenshot the whole screen

Command + H : Hide a window
Command + Q : Quit an application
Command + Tab : Cycle through open applications

Command + Shift + . (fullstop) : View hidden files/folders in Finder

Compose Key

OMG. This is much harder than it is in Linux! Well, not harder exactly, but a lot more fiddly to set up. Once it's set up, though, it works very much as it would on Linux, so there's that!

First: download and obtain a (free!) copy of Karabiner Elements, suitable for the version of macOS you're using, from here. The version on the big download button is only suitable for more recent macOS versions, so click the little down-arrow button to grab versions suitable for, say, Monterey or Catalina.

Once downloaded, do the usual “double-click to install” routine and step through the wizard.

Next, click here and copy the content of the weird-looking code in its entirety. It is an extremely long piece of code: over 4000 lines. Make sure you copy ALL of it, no exceptions.

Then in a terminal session, type:

cd
mkdir -p /Users/hjr/Library/KeyBindings (replace "hjr" with your own username, of course)
nano /Users/hjr/Library/KeyBindings/DefaultKeyBinding.dict

Paste into the new file the entire contents of the previously copied key binding code. Save.

The important thing to note about that code is how it starts:

{
    "\UF710" = {
        "\U0020" = {
            "\U0020" = ("insertText:", "\U00A0"); /* Compose, SPACE, SPACE: NO-BREAK SPACE */
            "\U0027" = ("insertText:", "\U0027"); /* Compose, SPACE, APOSTROPHE: APOSTROPHE */

That “\UF710” is the Unicode binding for F13. The file is basically saying, “When you see F13 pressed, do the following textual substitutions for whatever is typed next”… and then goes on to list something like 4000 possible substitutions to do! The trouble is that if your Apple Magic Keyboard is like mine, it won't have an F13 key. That, however, is where Karabiner Elements comes into effect: you run the program and create a new Simple Modification that maps the right-Command button to F13:

You're essentially saying “if I type right-command, interpret that as me pressing F13”. They keybinding file created earlier then kicks in and says, “F13 has just been pressed, what do I now do?” …and at that point, we're off to the races!

Be aware that Karabiner Elements will need all sorts of permissions to run effectively to provide this key remapping capability. In particular:

So, that's General → Login Items & Extensions: grant both parts of Karabiner those rights. Additionally:

Both parts of Karabiner need to be granted the ability to do input monitoring. You may need to grant additional privileges as well, if Karabiner asks for them.

Now, close down your text editor if it's open (really close it down by quitting, don't just hide it), then re-open it from scratch and type Right-Cmd + ' + e and you'll see é; type Right-Cmd + = + e and you'll get €; type Right-Cmd + “ + u and you'll get ü… and so on. The point is: you have to re-launch programs that were already open at the time you installed Karabiner Elements in order to get the new keybindings picked up by applications. Once it's working, the Right-Cmd button essentially acts as the equivalent of the Linux “compose key” and all the usual key combinations apply.

SuperDrive Eject CD

On Apple Magic Keyboards version 2, there is a TouchID button where the old physical eject button used to be. So how do you eject a CD without a suitable button to press? Well, you could use Karabiner to re-define an existing key to act as though it were the old eject key. But it can also be done by adding an eject icon to the top-right of your permanent menu bar.

Open Finder
Press Command + Shift + G (or go to the Go menu and select Go to Folder)
Navigate to: /System/Library/CoreServices/Menu Extras
Find the file named Eject.menu and double-click it

The Eject icon (a chevron with a line under it) will instantly appear in your menu bar:

It's the third icon from the left!

Virtual Desktop Ordering

MacOS has an intensely annoying habit of deciding that your virtual desktops (what it calls 'spaces') should be re-ordered according to how recently you used them. Which is extremely aggravating if you're the kind of person that thinks to themselves “Office is on desktop 2 and Giocoso is on desktop 4”, for example.

Fortunately, this is only macOS's default behaviour and you can switch it off:

That's in System Settings → Desktop & Dock → Automatically rearrange Spaces based on most recent use. Turn that toggle switch off and your virtual desktops will remain in the order you thought they should be in!

Crontab and Niente in macOS

My crontab has this:

# Push Niente Statistics to the Webserver every 15 minutes
# ---------------------------------------------------------
14,29,44,59 * * * * /Users/hjr/Scripts/nientestats.sh

# Regularly re-scan for new recordings and perform analysis on
# anything thereby discovered
# ---------------------------------------------------------
12,27,42,57 * * * * /usr/sbin/diskutil info /Volumes/Music-Master >/dev/null 2>&1 && /usr/local/bin/niente4.sh --scan-new
13,28,43,58 * * * * /usr/sbin/diskutil info /Volumes/Music-Master >/dev/null 2>&1 && /usr/local/bin/niente4.sh --check-differential

So, four times an hour, I'm supposed to be scanning for new FLACs, analysing them when found and then pushing the results of an aggstats query to a text file for incorporation into this website. But it wasn't working. Why?

Well, it's something that even Linux users know: in a crontab, there's no PATH. So finding executables is tricky (which is why that full path to /usr/sbin/diskutil is mentioned twice!). The specific issue is that the niente4.sh shell script itself cannot have a PATH statement within it (it has to be able to run on Linux and macOS, so mentioning /homebrew in it isn't an option). The nientestats.sh shell script is one of my own devising, however, and can (and does!) have a PATH statement in it. So when those two niente4.sh jobs fired off, they fell on their faces, unable to find the ffmpeg and metaflac binaries they needed to run.

The fix for this is to add the following line to the top of the crontab:

PATH=/opt/homebrew/bin:/usr/local/bin:/usr/bin:/bin:/usr/sbin:/sbin

Now all jobs invoked by crontab pick up that PATH and are able to find metaflac and ffmpeg without drama. However, that then introduced another macOS weirdness: the first time the modified crontab was triggered, I saw a pop-up on my iMac warning that Bash wanted to access an external hard drive. This is part of Apple's security hardening process, sometimes called Transparency, Consent and Control or TCC for short. My music files are, indeed, stored on an external 4TB SSD drive plugged in via USB, so Niente (and thus Bash) would indeed need permission to access them. There is, unfortunately, no way to pre-authorise Bash for this: on my iMac, Bash already has 'full disk access' permission, but that doesn't extend to external hard drive access.

So, anyway: the first time my cron jobs triggered after adding the PATH statement to the top of my crontab, I manually clicked 'OK, grant access' to the pop-up: the two cron jobs then have fired routinely ever since. If you want this in words of few syllables:

Your crontab must include a path
You must be there for the first run of a job after a crontab is submitted
Once you authorise, you're good to go thereafter

One final quirk: Niente generally expects to be run inside an interactive terminal, so being run by cron in a headless fashion is a bit of a struggle for it. Not that it breaks anything, but that expectation triggers a bunch of warnings when a niente job is run via cron. They're only visible if you explicitly pipe the errors out to a text file and they don't stop the job from working, but to completely silence them, I now also add the following to the top of my crontab:

TERM=dumb

That tells cron jobs not to expect to be able to output to an interactive terminal environment. I also modified Niente as follows:

function exit_program {
rm -f "$CONFDIR/txt/programvariables.txt" >/dev/null 2>&1;
if [[ -t 1 ]]; then
  tput cvvis
  tput sgr0
  clear
  reset
fi
exit 0
}

That ”-t“ test means “am I running in an interactive terminal environment or not?” If not, then it's pointless to use tput to move cursors around or set foreground colours or to reset a terminal: so all those things are inside the “if” statement. Cron jobs now, therefore, don't try to do any of those 'nice' things and instead just exits: that reduces the error output from a cron job to nothing.

musicgenres

Anonymous (anonymous@undisclosed.example.com) — 2025-10-13T21:05:08+00:00

A List of Classical Music Genres

When tagging your classical music digital files, it is helpful to break up a composer's output into smaller, more manageable, 'chunks'. The “genre” tag is good at doing this -allowing J. S. Bach's vast output, for example, to be chopped up into separate folders for (say) cantatas, keyboard works, general choral works, oratorios, chamber works and so on. The 'genre' has no real purpose for classical music listeners beyond this broad 'divide into manageable pieces' function.

Accordingly, it should be borne in mind the genre provides a broad classification, not an academically-rigorous description of a work's musical form. Whilst it would be possible, perhaps, to create genres for 'ricercar', 'canzona', 'madrigal', 'ciaconne', 'passacaglia' and so on, in practice you'd end up with a composer's output being chopped up into a bazillion small pieces -and your management problem is then magnified, not simplified! So, getting too specific, precise and (dare I say) accurate is not the goal when classifying a piece of music by its genre. You want something that helpfully chops a composer's output up into maybe half a dozen to a dozen 'style groups'.

Below is the set of genres I have come up with for all my classical music needs, listed in alphabetical order. I also include the graphical 'icon' I use to represent each genre, but you are free to use or not use them as you please! I offer some thoughts below about each of these genres in turn, why I've found them useful and so on.

Some notes on Genres

Ballet
	By definition, a ballet score is going to be a large orchestral work. You could therefore reasonably classify the genre of Britten's The Prince of the Pagodas or Tchaikovsky's Sleeping Beauty as “orchestral”. However, doing so ignores the distinctively dramatic, narrative nature of a ballet score. In general, I think ballets are long enough and distinctive enough to warrant their own genre category.
Cantata
	Bach cantatas are difficult to categorise as anything other than their own unique genre. Yes, they contain choral parts; but they also contain instrumental and solo vocal movements -so they are really not 'vocal', 'instrumental' or 'choral', but are entirely sui generis. Besides, there are so many Bach cantatas that separating them out into their own sub-folder is a really useful way of organising the physical storage of your digital music files. Some other composers wrote things which are commonly called 'cantatas' -Vivaldi, for example. I don't have a problem using the Bach-specific term for such non-Bach examples, either.
Chamber
	Small instrumental works with one instrument per part and intended for performance in a domestic or small-room setting. String quartets are self-evidently examples of this genre, but I have come to the conclusion that Quartets are so distinctive -and quite a cohesive body of work- that they deserve their own classification. So, that leaves 'Chamber' to describe string quintets, sextets, octets and the like, along with flute, violin, cello and other sonatas.
Choral
	Large-scale works that, whilst an orchestra may be present, are principally concerned with a choir performance. Requiem masses are a good example of this genre: Verdi's or Berlioz requires a huge orchestra, for example -but they are clearly more choral in nature than purely orchestral. Note that Oratorios are examples of choral works and could well be classified as such. However, oratorios tend to contain large parts for solo recitative (the Evangelist, for example), and thus are not 'purely' choral in nature. I therefore regard oratorios to belong in their own genre, whereas I don't think requiems and masses in general are sufficiently distinct in nature. I thought for quite a while whether I should distinguish between “Choral - Sacred” and “Choral - Secular”, but felt in the end that it wasn't a useful distinction to make. I similarly wondered about creating a separate genre for 'Masses', but decided that I'd be tempted to catalogue Te Deums and Magnificats as 'Masses', when liturgically speaking they are nothing of the sort. You might also want to break Choral into smaller subsets -but think carefully about the logic and utility of doing so before you take the plunge!
Concerto
	Large-scale orchestral works that contain a part for a solo (sometimes two or more) virtuoso instrumental parts. Obvious examples are piano concertos, violin concertos and the Britten Cello Symphony (whatever the composer thought!). Yes, concertos involve large orchestras, but they are distinctive enough in character to warrant their own genre classification.
Film - Theatre - Radio
	A number of 20th century composers wrote significant orchestral works as radio plays and film scores. Often they are purely orchestral in nature and could, therefore, be classified as 'orchestral'. But they usually have a programmatic and narrative nature which makes them a distinct genre in their own right. Frequently, too, radio scores will contain spoken or sung narrative, so that they are not 'purely' orchestral or vocal works in any case. There is also a body of work intended for performance as incidental music in the theatre. Benjamin Britten's music for the Ascent of F6 would count under this heading -but I don't think I would characterise Handel or Purcell incidental music in the same way. “Film” and '“Radio” implies modern theatre, not ancient! I will readily acknowledge that this genre appears to break Axiom 4: it's a multi-word genre, not a single word! My defense is that it's multi-word only because I couldn't readily come up with a single word that implied 'from the world of mass entertainment in its various forms'! I'm not using multiple words to imply a 'compound' genre or a hierarchical one, in other words.
Instrumental
	I don't classify much music in this genre, but there are some works written for large-scale public performance (therefore, not chamber), but only for a handful of instruments (therefore, not orchestral). For example, Britten's Fanfare for St. Edmundsbury, which requires four trumpeters to perform in the open air.
Keyboard
	A broad genre, covering everything from Harpsichord suites to Organ postludes, with piano études swept up on the way. There is a reasonable argument to be made for separating out harpsichord, piano and organ into their own, unique genres. But I didn't want to get into a fight with myself about whether a fortepiano should be classed as 'piano', or whether it was OK to include 'clavichord' under 'harpsichord'. Separating the genres also meant that performances of Bach's English Suite would end up in two different disk locations, depending on whether they were 'authentic' performances on the harpsichord or 'modern' performances on pianos. In the end, I decided sweeping everything into a single 'keyboard' genre was sufficient.
Opera
	Covering everything from traditional 'Grand Opera' to one-act comic operettas, this genre is designed to group anything consisting of vocal soloists, chorus and orchestra performing works with an explicitly narrative, dramatic form involving (in real life) stage acting. Fans of Wagner will object that he didn't write operas, but “music dramas” or even “Gesamtkunstwerk” -but I think this is an example of erudition for the sake of it! Since Wagner is dead, I think we can safely regard his works as 'opera' for the purpose of classification and physical segregation on disk.
Quartet
	As mentioned above, under 'Chamber', I've come to the conclusion that string quartets are so distinctive a musical 'form' that they probably deserve their own Genre classification. Obviously, a Tippett quartet isn't going to sound 'like' a Mozart one, but they would nevertheless share a 'family resemblance' that might mean, for example, one morning wanting to play nothing but string quartets, without a flute sonata getting in the way and cluttering up the works. Quartets are to Chamber as Symphonic is to Orchestral, basically: a useful sub-grouping.
Symphonic
	This is intended to separate out the usually-multi-movement-but-coherently-designed, large-scale orchestral work from other large-scale orchestral works that are perhaps in the form of a single, extended movement. Richard Strauss' tone poems, for examples, are dramatic, large-scale and purely orchestral -but they aren't symphonies. For many composers, who only wrote a few symphonies, it's probably OK to classify them under the umbrella term 'orchestral'; but for those composers who wrote a lot of symphonies (Shostakovich, Mahler, Beethoven, Haydn, Mozart, Havergall Brian etc), splitting them out into their own genre helps break down a large collection of 'orchestral' works into slightly more manageable chunks.
Vocal
	Intended to classify anything where (usually) a single soloist sings songs with piano or small orchestral accompaniment. Britten's song cycles, for example; Or Schubert's Lieder. The term 'small scale orchestral accompaniment' is not to be taken literally, either: Strauss' four last songs do not require a small orchestra at all, but I nevertheless regard them primarily as vehicles for the vocal soloist's artistic expression… and thus as 'vocal' works.

General Notes

Most of these genres are adjectival in form. That is, we use “symphonic” or “orchestral” rather than “symphony” or “orchestra”. It's also “vocal” not “voice”, and “choral” not “choir” or “chorus”. That's because we are defining a collection of things plural, not naming specific examples of things. Thus, Beethoven's 5th is a symphony, but is of the symphonic genre.

This 'rule' of the adjectival is clearly not unbreakable: if we were to apply it rigorously then we should talk about the 'balletic' or 'concertal', I suppose! But without inventing a whole new vocabulary of unfamiliar (and thus unhelpful) words, I think the above list usefully balances utility and consistency.

proxmoxaudio

Anonymous (anonymous@undisclosed.example.com) — 2026-03-11T20:58:33+00:00

Proxmox LXC Containers with Audio and Giocoso

1.0 Introduction

I've recently moved to using Proxmox as my virtualisation platform: it is based on Debian and thus uses Linux's native KVM hypervisor capabilities (the previous virtualisation technology I was using), so it's generally quite straightforward, but with a nice web UI making things very point-and-click. A refinement of this, however, was a technology that I'd never actually used before: LXC Containers. These are incredibly lightweight, minimal virtualised environments, rather than the full-fat virtual machines that I've used for about 26 years now!

When I'm testing new builds of Giocoso, Semplice or Niente, it helps to be able to knock together a slim environment in which to check I haven't badly broken anything: LXC Containers are much speedier to deploy than 'proper' virtual machines, so this was definitely a technology I wanted to crack.

The “problem” with containers is that they really are minimal: they come with no GUI, no audio, no nothing that would allow a music-playing program like Giocoso to operate effectively… which rather seems to defeat their intended purpose! Fortunately, it's fixable and with a bit of command line shenanigans, you get to have the simplicity of a container with all the graphical and audible tools needed to be useful.

However: the “shenanigans” involved are really quite elaborate and complex shenanigans and this is definitely not for the faint-hearted! Each distro has its own quirks and peculiarities. I'll document those for Arch, Fedora, Ubuntu and Linux Mint: the same principles then apply to any other distro, but the specifics will need to be worked out by yourself according to what otherwise breaks or works!

I'll begin by discussing two ways of adding shared, on-the-network storage to your Proxmox environment: managed storage and un-managed storage. This is something you'll do once-only to your Proxmox host and all your containers will benefit from it thereafter, so it's as well to get this out of the way up-front before tackling distro-specific container issues.

2.0 Adding Managed NFS Storage to the Proxmox Host

NFS storage is added to a Proxmox environment in two distinct ways, depending on whether you want Proxmox to manage them or whether you just want Proxmox to access them (perhaps even in read-only mode).

Managed network storage is created via the Proxmox web interface; unmanaged storage has to be created using the command line. Managed storage is what you want when you need to back up your containers and virtual machines: it's storage that Proxmox will create a number of folders in and keep an eye on automatically once it's been created. This is not, therefore, how you get NFS storage visible to containers and virtual machines: it's only network storage that the Proxmox host itself will be able to see and use.

So, with all that out of the way, we start with this situation:

That's a fresh Proxmox installation with local storage only. To add a storage location on the NAS which Proxmox will manage (and create a bunch of subfolders in), it's sufficient to click on the Datacenter → Storage options, click [Add], then select NFS from the drop-down. Fill in the details of the server and the share, like so:

The 'Content' field is the important bit: it defines what Proxmox can store on the share and what it expects to find there (and what sub-folders it will create there). If you say content is 'backup', for example, it will create a 'dump' folder and your backups of containers and VMs will be stored there. If you want to upload an ISO to the NAS, that would require you to select the ISO Image content type, and so on.

In my case, I actually only want this mechanism to allow containers to be backed up, so I select only the Backup content type. Click [OK] to submit the selection and I end up with this sort of thing:

My 'Copland' host is allowed to see the NAS for backups and restores -and that's it.

3.0 Adding an unmanaged NAS Share to the Proxmox Host

So, now click on the Proxmox host item in the Web Gui (i.e., the one directly under 'datacenter': in my case, that's “Copland”):

Visit the Shell item in the middle pane and you'll see a command line interface on the right, with you logged in as root. You now create a mount point on the host, as follows:

mkdir -p /mnt/nas_music

(The specific name of the mount point doesn't really matter, but “nas_music” is good enough here).

You then issue a variant of this command:

echo "192.168.137.1:/bulkdata/music/ /mnt/nas_music   nfs     rw,hard,intr,rsize=131072,wsize=131072,timeo=14 0       0" >> /etc/fstab

That's assuming your NAS has IP 192.168.137.1, and that it's exporting the music collection at /bulkdata/music. This entry in the fstab file says 'mount that share on that NAS at the local mount point /mnt/nas_music, which I just created'. The long list of options (such as “rw,hard” and so on) are there to make fetching data across the network between the NAS and Proxmox as efficient as possible.

To actually mount the share, you then issue the command:

mount /mnt/nas_music

You will probably be told that “ount: (hint) your fstab has been modified, but systemd still uses the old version; use 'systemctl daemon-reload' to reload.” If you see that message, just issue these commands:

systemctl daemon-reload
mount /mnt/nas_music

You can then check that the Proxmox host now “sees” the music folder structure you're expecting it to see:

Once the Proxmox host can see the music collection, we can make containers see it to.

4.0 Making a Bind Mount

I created an Ubuntu 25.04 container, using a downloaded template. I built it as a privileged container: the default is to be unprivileged, so you have to actively uncheck that option on the first screen of the container builder wizard. That also disables nested virtualization by default (running virtual machines inside the container). The GUI doesn't let you have Nesting if you've unchecked the Unprivileged container option, though you can re-enable Nesting after the container is built if you feel you need to.

Once the container is built, go back to the Proxmox host's shell (that's Copland on my setup, then click Shell in the middle pane) and issue the command:

pct set 100 -mp0 /mnt/nas_music,mp=/mnt/music

That “100” is the ID of the freshly-built container, so change it to match whatever ID is assigned to your new container. The rest of the command says that the hosts mount point of /mnt/nas_music should become the mountpoint /mnt/music within the container. This isn't being managed by the usual /etc/fstab mechanism: this is Proxmox forcing a mount into the container. This arrangement is called a bind mount.

Bind mounts can be created with the container running, but they don't take effect until the container has then bounced down and back up. I created mine with the container closed down anyway, so I can now just start mine up.

Once it has started, I can click on the container's Console option and see this:

This “injection” of a mount point into a container 'from the outside', as it were, is what's called a 'bind mount'. A standard mount at the Proxmox host level is made available to a container running on that host without any fiddling with the container's /etc/fstab. More importantly, the way a bind mount is created is entirely independent of the operating system the container is going to be running: it's always done in the host's shell, using the “pct” command. The container number will be different each time, but the command syntax is invariant.

5.0 Instructions for Building a PulseAudio Server

PCs with a pair of speakers can offer their audio rendering capabilities to containers that are outputting an audio stream. Your desktop PC can therefore act as a PulseAudio server, whilst the container acts as the PulseAudio client.

5.1 A macOS Audio Server

First, install and start PulseAudio. If you use HomeBrew:

brew install pulseaudio
brew services start pulseaudio

If you're more a MacPorts person:

sudo port install pulseaudio
sudo port load pulseaudio

After that, edit /opt/homebrew/etc/pulse/default.pa. The path will be different for MacPorts users: maybe /usr/local/etc/pulse/default.pa on older OSes, or /opt/local/etc… if you're running on something like Tahoe and thus using a newer MacPorts version).

Find the lines

load-module module-native-protocol-tcp auth-ip-acl=127.0.0.1
load-module module-zeroconf-publish

The first line you edit to add your home network's general address pool, like so:

load-module module-native-protocol-tcp auth-ip-acl=127.0.0.1;192.168.137.0/24

Replace the .137… bit with whatever's appropriate in your environment: the extra configuration text permits any PC on the 192.168.137.x network to pipe audio to my iMac. You could make that very restrictive if you wanted to: ;192.168.137.82/24 would mean, for example, that only a container with a .82 IP address could send audio my way.

As well as modifying that first line, make sure both lines are uncommented, so that they are operative statements. At this point, re-boot your iMac and the daemon will start up automatically (a manual start can also be effected with the command brew services restart pulseaudio. With MacPorts, it's two separate commands: sudo port unload pulseaudio to stop the process and sudo port load pulseaudio to restart it).

At this point, your macOS install is ready to 'render' any audio stream sent to it from a remote client.

5.2 A Fedora Audio Server

First make sure all the PulseAudio software is installed (it may well already be by default, but no harm in checking):

sudo dnf install pipewire-pulseaudio pulseaudio-utils avahi

Next, copy the default configuration file to your own $HOME folder:

mkdir -p ~/.config/pipewire/pipewire-pulse.conf.d/
cp /usr/share/pipewire/pipewire-pulse.conf ~/.config/pipewire/pipewire-pulse.conf

Edit that copy:

nano ~/.config/pipewire/pipewire-pulse.conf

Add the network listener configuration to the existing file:

{ name = libpipewire-module-protocol-pulse
  args = {
      server.address = [
          "unix:native"
          "tcp:4713"
      ]
      pulse.min.req = 256/48000
      pulse.default.req = 1024/48000
      pulse.max.req = 2048/48000
      pulse.min.quantum = 256/48000
      pulse.max.quantum = 2048/48000
  }
}

Finally, start the appropriate services:

sudo systemctl enable --now avahi-daemon
systemctl --user restart pipewire pipewire-pulse

Be aware of potential firewall issues: PulseAudio and its ilk require port 4713 to be open.

5.3 An Ubuntu Audio Server

The procedure on Ubuntu is almost the same as on Fedora. First install the appropriate software:

sudo apt install paprefs

Next create a configuration folder and file:

mkdir -p ~/.config/pipewire/pipewire-pulse.conf.d/
nano ~/.config/pipewire/pipewire-pulse.conf.d/network.conf

Paste this text into the configuration file:

pulse.properties = {
    server.address = [
        "unix:native"
        "tcp:4713"
    ]
}

Then restart the appropriate services:

systemctl --user restart pipewire pipewire-pulse

Again, remember that if you're running a firewall, port 4713 needs to be opened.

5.4 A Debian Audio Server

Debian is an odd one because some Debian installs (using Gnome, for example) will use PipeWire and some (using XFCE, for example) might be using traditional PulseAudio. Configuration is different, depending on which software stack is in use. So, the first thing is to identify the software in use:

pactl info | grep "Server Name"

If it mentions “PipeWire”, you know you need to do the PipeWire configuration (which is identical to the Ubuntu one described above). If it says “PulseAudio” then the configuration is much more like the macOS one described earlier.

For PipeWire:

sudo apt install pipewire-pulse pulseaudio-utils avahi-daemon
mkdir -p ~/.config/pipewire/pipewire-pulse.conf.d/
nano ~/.config/pipewire/pipewire-pulse.conf.d/network.conf

Paste in:

pulse.properties = {
    server.address = [
        "unix:native"
        "tcp:4713"
    ]
}

Then restart the service:

systemctl --user restart pipewire-pulse

For PulseAudio:

sudo apt install pulseaudio-module-zeroconf avahi-daemon

Then:

nano ~/.config/pulse/default.pa

Create it if it doesn't exist, and add .include /etc/pulse/default.pa at the top. Then, add these lines:

load-module module-native-protocol-tcp auth-ip-acl=127.0.0.1;192.168.137.0/24 auth-anonymous=1
load-module module-zeroconf-publish

Then reboot.

5.5 An Arch Audio Server

Arch uses nothing really 'by default', but the PipeWire approach is more modern and common. If you choose to install PulseAudio, go the macOS route; if you instead install PipeWire, go the Ubuntu-type of route.

6.0 An Ubuntu 25.04 Container as an Audio Client

The container came up but to a blank, black screen. This is fixed by clicking the container, going to Options, and setting “console mode” to /dev/console. It defaults to tty, which is wrong for this OS.
The container then came up with text visible on the console, but the text was a nightmare of errors. This is fixed by clicking the container, going to Options, clicking Features and switching “Nesting” on. Reboot the container again and this time you'll see a standard login prompt.

Once networking is OK:

apt update && apt upgrade
useradd -m -s /bin/bash hjr
passwd hjr
apt install wget nano alsa-utils openssh-server pulseaudio

On both the Proxmox host and within your container, issue the command:

getent group audio

You want the container and the host to agree on the group number. In my case, the command returned number 29 both times, so they already agreed. Had they not done so, a groupmod -g 29 audio would have made the container's group number match the hosts'.

Whether they agree or not, you also need to issue this command:

usermod -aG audio hjr

Finish off with:

systemctl enable ssh
systemctl start ssh
export EDITOR=nano
visudo

Find the line where root is mentioned as having “ALL (ALL:ALL) ALL” privileges and, immediately under that, add your new unprivileged user to the file. My line ended up as:

hjr     ALL=(ALL:ALL) ALL

Save the file, then reboot the container. When it comes back up, you can now log in to it from your usual PC and using the unprivileged user account. Having done so, type the command:

aplay -l

At this point, no audio devices were present: that's pretty unique to Ubuntu, to be honest.

The fix is to switch back to the Proxmox host's shell and type:

ls -l /dev/snd

My output was:

root@copland:~# ls -l /dev/snd
total 0
drwxr-xr-x 2 root root       60 Feb 28 17:07 by-path
crw-rw---- 1 root audio 116,  9 Feb 28 17:07 controlC0
crw-rw---- 1 root audio 116,  7 Feb 28 17:07 hwC0D0
crw-rw---- 1 root audio 116,  8 Feb 28 17:07 hwC0D2
crw-rw---- 1 root audio 116,  3 Feb 28 17:07 pcmC0D0c
crw-rw---- 1 root audio 116,  2 Feb 28 17:07 pcmC0D0p
crw-rw---- 1 root audio 116,  4 Feb 28 17:07 pcmC0D3p
crw-rw---- 1 root audio 116,  5 Feb 28 17:07 pcmC0D7p
crw-rw---- 1 root audio 116,  6 Feb 28 17:07 pcmC0D8p
crw-rw---- 1 root audio 116,  1 Feb 28 17:07 seq
crw-rw---- 1 root audio 116, 33 Feb 28 17:07 timer

Based on these devices, I then issued this command:

nano /etc/pve/lxc/100.conf

…and add the entries:

lxc.mount.entry: /dev/snd/controlC0 dev/snd/controlC0 none bind,optional,create=file,gid=29,mode=0660
lxc.mount.entry: /dev/snd/pcmC0D0p dev/snd/pcmC0D0p none bind,optional,create=file,gid=29,mode=0660
lxc.mount.entry: /dev/snd/timer dev/snd/timer none bind,optional,create=file,gid=29,mode=0660
lxc.apparmor.profile: unconfined
lxc.cgroup2.devices.allow: c 116:* rwm

Restart the container and log back on:

hjr@ubuntuct:~$ aplay -l
**** List of PLAYBACK Hardware Devices ****
card 0: PCH [HDA Intel PCH], device 0: ALC293 Analog [ALC293 Analog]
  Subdevices: 1/1
  Subdevice #0: subdevice #0
card 0: PCH [HDA Intel PCH], device 3: HDMI 0 [HDMI 0]
  Subdevices: 1/1
  Subdevice #0: subdevice #0
card 0: PCH [HDA Intel PCH], device 7: HDMI 1 [HDMI 1]
  Subdevices: 1/1
  Subdevice #0: subdevice #0
card 0: PCH [HDA Intel PCH], device 8: HDMI 2 [HDMI 2]
  Subdevices: 1/1
  Subdevice #0: subdevice #0

That means the non-root user can see (and use!) audio devices. It also means that plughw:0,0 should be the device we tell Giocoso to use (because it's the only one that isn't a HDMI interface!). Now, as the non-root user, issue the command:

echo "export PULSE_SERVER=192.168.137.13" >> ~/.bashrc

This is an instruction to the container that whenever audio is played, it should be streamed out over the network to whatever device has been assigned IP address 192.168.137.13: in my case, that's the IP address of my iMac. I hasten to add that the iMac needs to be running PulseAudio itself for that to work (a brew install pulseaudio sorted that out quickly enough). Once installed, PulseAudio actually has to be running, of course, on the iMac:

brew services start pulseaudio

After that, edit /opt/homebrew/etc/pulse/default.pa (if you're on an older Mac and thus installed Pulseaudio with sudo port install pulseaudio, the file path would be: /usr/local/etc/pulse/default.pa). Find the lines:

load-module module-native-protocol-tcp auth-ip-acl=127.0.0.1
load-module module-zeroconf-publish

The first line you edit to add your home network's general address pool, like so:

load-module module-native-protocol-tcp auth-ip-acl=127.0.0.1;192.168.137.0/24

(Replace the .137… bit with whatever's appropriate in your environment). As well as modifying that first line, make sure both lines are uncommented, so that they are operative statements. At this point, re-boot your iMac and the daemon will start up automatically (a manual start can also be effected with the command brew services restart pulseaudio)

Now install Giocoso.

wget software.bbritten.com/gioinst
bash gioinst
giocoso

In the configuration options, specify plughw:0,0 as the audio device and also say yes to force the use of pulse audio. Once done, and assuming you've created a database of your music files, you'll find that music played from within the container will sound out correctly on the 192.168.137.13 device (which happens to be my iMac!)

7.0 A Fedora Container as an Audio Client

1. build a Fedora 43 Container

It needs to be privileged, because we're going to get it to mount my music via NFS After it's built, but before you start it, issue the command:

pct set 100 -mp0 /mnt/netmusic,mp=/netmusic

…from the Host shell (not the container's shell) and with the container stopped. That's creating a mountpoint within the container called /netmusic to which the host's /mnt/netmusic is mapped. When you restart the container, it will have access to the entire music collection.

Once it's built:

useradd -m hjr
passwd hjr

3. Networking doesn't work out of the box. Type this:

cat <<EOF > /etc/systemd/network/20-wired.network
[Match]
Name=eth0
[Network]
DHCP=yes
EOF

Then:

sudo systemctl enable --now systemd-networkd
sudo systemctl enable --now systemd-resolved

dnf update
dnf install wget ncurses nano alsa-utils pipewire-utils openssh-server
export EDITOR=nano
visudo

##
## Allow root to run any commands anywhere 
root    ALL=(ALL)       ALL
hjr     ALL=(ALL)       ALL          #<====Add this line!

Then:

systemctl start sshd
systemctl enable sshd

You now need to enable audio. On the Proxmox host, find the group number of the audio group:

getent group audio

You'll likely get a group number of “29”. The same command run inside the Fedora container will probably be “63”. They need to be identical, so back in the Fedora container:

groupmod -g 29 audio
usermod -aG audio hjr

The last command there puts you into the audio group. Finish off with:

reboot

When the container comes back up, log in as yourself, not root, and then issue the command:

aplay -l

…which will tell you the audio devices that the container can see. Now you are ready to install Giocoso, best done over an ssh link using a local terminal that you know supports sixel graphics (such as iTerm2 on macOS):

wget software.bbritten.com/gioinst
bash gioinst

When it's running, configure (1) force the use of pulseaudio and (2) the use of an appropriate hardware device for audio (such as “plughw:1,0”). Exit Giocoso.

For audio to be piped over the network to your local PC from the Fedora Container, you need two things: 1) Pulseaudio running on your local PC and 2) an environment variable on the Fedora Container which tells it which pulseaudio server to pipe music to.

On macOS, therefore: brew install pulseaudio to get PulseAudio installed. On most Linux distros, it's probably already present. Then, on macOS:

nano /opt/homebrew/etc/pulse/default.pa

Find the line which reads load-module module-native-protocol-tcp and make sure it ends up reading:

load-module module-native-protocol-tcp auth-ip-acl=127.0.0.1;192.168.137.0/24 auth-anonymous=1

That lets any host on my local 192.168.137.x network pipe audio to my iMac, and without having to authenticate. So that's my iMac client ready to receive audio.

In the Fedora container:

 echo "export PULSE_SERVER=192.168.137.13" >> ~/.bashrc

That tells the bashrc file to say that my iMac at 192.168.137.13 is where audio should be directed. Close the terminal then re-launch a new ssh session to the container (thus ensuring that the new environment variable is picked up and applied). Giocoso in the Fedora container should now be able to play music and have it sound out on your iMac.

8.0 A Linux Mint Container as an Audio Client

Visit https://images.linuxcontainers.org/images/mint/. Navigate to the latest version and image you want. I went for x86_64 Wilma, dated to February 2026: find the URL for the root.tar.xz file (mine ended up being https://images.linuxcontainers.org/images/mint/wilma/amd64/default/20260227_08%3A51/rootfs.tar.xz) Copy that URL/Link. In the Proxmox interface, click on local storage device → CT Templates → Download from URL → paste in the URL. Once the template is downloaded, you can create a new CT container and point it to the root.tar.xz template.

Note that Mint has networking working by default.

apt install wget ncurses-bin nano alsa-utils pipewire openssh-server

useradd -m -s /bin/bash hjr passwd hjr

export EDITOR=nano visudo

Add the line

hjr    ALL=(ALL:ALL) ALL

reboot log in as hjr

wget software.bbritten.com/gioinst bash gioinst

Set the pipewire redirect:

echo “export PULSE_SERVER=192.168.137.13” » ~/.bashrc

Mint gets its user IDs confused.

id hjr shows 1001, id ubuntu shows 1000. That's wrong for me: my NFS server has hjr as user 1000. We need to swap them around. So log out of the container, completely. From the Proxmox host, open a shell and type:

pct enter 1xx

…to gain direct access to the container. Then:

usermod -u 2000 ubuntu groupmod -g 2000 ubuntu

usermod -u 1000 hjr groupmod -g 1000 hjr

chown -R hjr:hjr /home/hjr

Reboot the container. Ownership of the NFS mount should now be correct.

Disconnect and re-connect to have the new setting applied. Configure Giocoso to use PulseAudio.

You'll also need to do this:

sudo apt install file

This is an unusual one: file is a standard part of full-fat desktop Mint, but it's missing from the container template. Without it, Giocoso cannot detect FLACs in a folder. You'll get 'invalid or missing FLAC' error messages if it's not present on the system. Manually installing it makes Mint play music over the network to the iMac perfectly, however.

9.0 An Arch Container as an Audio Client

The template is obtainable from https://images.linuxcontainers.org/images/archlinux/current/amd64/default/20260228_04%3A18/

pick the rootfs.tar.xz one. Copy the path to that link, then in Proxmox do a download from URL.

After building the Arch container, networking may not work because of a networking misconfiguration. Check the contents of the folder /etc/systemd/network. You should find a file with a name like eth0.network. Edit that in nano. Mine looked like this:

[Match]
Name = eth0

[Network]
Description = Interface eth0 autoconfigured by PVE
DHCP = no
IPv6AcceptRA = false

…which is almost correct: I just needed to change the DHCP = no line to read DHCP = yes, then issue the command:

systemctl restart systemd-networkd

…after which a “ping google.com” worked fine.

However, a pacman -Syu will still fail with complaints about “error: restricting filesystem access failed because Landlock is not supported by the kernel!”

This is a separate issue and the fix is to nano -c /etc/pacman.conf and around line 39 and 40, uncomment the lines about 'DisableSandboxFilesystem' and 'DisableSandboxSyscalls'. When both are uncommented, save the file and pacman will work.

pacman -S wget nano alsa-utils openssh pulseaudio
groupmod -g 29 audio
systemctl start sshd
useradd -m -s /usr/bin/bash hjr
passwd hjr
usermod -aG audio hjr
shutdown -h 0

With the container shutdown & powered off, go to the Host shell and type:

pct set 101 -mp0 /mnt/netmusic,mp=/netmusic

…to inject a mountpoint of your music that the container (numbered 102 on my system) can then access. Next, still in the Host shell, type:

nano /etc/pve/lxc/102.conf

…and paste the lines:

lxc.mount.entry: /dev/snd/controlC0 dev/snd/controlC0 none bind,optional,create=file,gid=29,mode=0660
lxc.mount.entry: /dev/snd/pcmC0D0p dev/snd/pcmC0D0p none bind,optional,create=file,gid=29,mode=0660
lxc.mount.entry: /dev/snd/timer dev/snd/timer none bind,optional,create=file,gid=29,mode=0660
lxc.apparmor.profile: unconfined
lxc.cgroup2.devices.allow: c 116:* rwm

Save and power on the container. Log on as hjr and do: aplay -l: you should see audio devices. Next, as the non-root user:

echo "export PULSE_SERVER=192.168.137.13" >> ~/.bashrc

Then:

su - root
export EDITOR=nano
visudo

…and assign the same privileges to the non-root user as root has:

## User privilege specification
##
root ALL=(ALL:ALL) ALL
hjr  ALL=(ALL:ALL) ALL

Exit back to being the non-root user. You're ready to install Giocoso. Note that no GUI is required for this. You will, of course, need to create a music database, configure Giocoso to use PulseAudio and also tell it which audio hardware to user (plughw:0,0 for example), depending on your output from aplay -l (though I left mine at “default” and it still played music over the network to my iMac).

Note that Arch ships an apparently broken version of img2sixel, which means that the program logo and album art won't be displayed in your sixel-capable terminal when you ssh into the container. That is, however, fixable:

sudo pacman -S --needed base-devel git
git clone https://aur.archlinux.org/yay-bin.git
cd yay-bin
makepkg -si

Compile All, say no to seeing dependencies, let the compilation complete: you now have yay, a package manager that can install from the Arch User Repository, enabling the installation of a working version of img2sixel. Next:

yay -S libsixel-git

Again, Compile All, No dependencies. At the very end of the compilation process, it will complain that the new package clashes with the existing libsixel:

:: libsixel-git-r3422.a4112363-1 and libsixel-1.10.5-1 are in conflict. Remove libsixel? [y/N] y

As shown, your response must be to say 'yes', remove the existing (broken) package. After that, once the new package has been installed, you can re-launch Giocoso and it will now display album art. You may need to use the Administration menu, Option 2 to set the image size to something large, like 610. Some experimentation may be needed to get the size precisely correct for your particular setup (it depends on things like your choice of terminal font, for example).

random

Anonymous (anonymous@undisclosed.example.com) — 2026-03-09T13:28:55+00:00

Random bits and pieces

1.0 Formatting a non-OS disk with ext4

When you format a hard disk, ext4 reserves around 5% of it to ensure you don't run out of space with catastrophic (non-bootable) consequences. If you are formatting an external USB drive for backup purposes, non-booting from the drive is not an issue, so there's little point in reserving any space at all (especially as 5% of a 6TB drive is practically 300GB!). Therefore, un-reserve that space with the command:

sudo tune2fs -m 0 /dev/sdX1

(where sdX1 is actually /dev/sda1, /dev/sdb1 or whatever else your actual physical disk partition is). That sets the “minimum [to keep] free” to nothing, meaning you get to use all your hard disk space. Whilst (for example) the BSD man pages for tune2fs seem to indicate that setting -m to less than 5% is going to hammer performance, that's not what an Ext4 developer says. Obviously, this assumes your backup hard disk is using ext4!

2.0 Initialising a Drive

You've got a hard disk with contents that are in a relatively unknown-state and you want to wipe the entire drive as quickly as possible so you can start with a clean slate for a new series of backups? The following commands will help:

sudo wipefs -a /dev/sdX
echo "label: gpt" | sudo sfdisk /dev/sdX && echo ",," | sudo sfdisk /dev/sdX
sudo mkfs.ext4 -F /dev/sdX1
lsblk -no UUID /dev/sdX1

Replace the “X” with the correct drive letter (e.g., /dev/sda or /dev/sda1 and so on). Wipefs doesn't laboriously clean a disk: it simply wipes all drive partitioning signatures from the disk, so it's a quick operation and effectively renders the disk blank for nearly all known tools. The sfdisk formatting then creates a new partitioning table to replace the wiped signatures and then mkfs formats the new partition. Very dangerous, very destructive… but also very efficient and very quick for 'starting from a blank slate'.

3.0 Query To Spot Composer Name Typos

If I mis-catalogue a new recording, it will sometimes be because I've said its composer is “Arvo Part” rather than “Arvo Pärt”. The lack of umlaut on the 'a' is a tiny typo, but suddenly means Giocoso and Niente will report I've got an extra composer in my music collection than I really ought to have. This Niente query helps spot near-misses like this:

WITH RECURSIVE numbers(n) AS (
  SELECT 1
  UNION ALL
  SELECT n+1 FROM numbers WHERE n<100
),
name_values AS (
  SELECT
    composername,
    SUM(unicode(substr(composername, n, 1))) AS value
  FROM tracks
  JOIN numbers ON n<=length(composername)
  GROUP BY composername
)
SELECT
  composername,
  LAG(composername) OVER (ORDER BY composername) AS prev_name,
  LAG(value) OVER (ORDER BY composername) AS prev_value,
  value - LAG(value) OVER (ORDER BY composername) AS diff,
  CASE WHEN abs(value - LAG(value) OVER (ORDER BY composername)) < 100 THEN 'NEAR MATCH' ELSE '' END AS near_match
FROM name_values
ORDER BY composername;

This takes unique composer names, orders them alphabetically, then compares row n+1 with the composer name in row n. For each composer name, a numeric value of its letters is computed. If row n was “Benjamin Britten” and row n+1 was “Richard Wagner”, you'd expect the two numbers to be wildly different from each other. If row n was “Benjmin Britten” and row n+1 was “Benjamin Britten”, however, you'd expect the two numbers to be very close to each other. If the two numbers are within 100 of each other, then they're flagged as a 'near match'. You can then investigate whether that's just coincidence or an accident of catalogue mis-typing!

It's not a perfect way of doing it: missed letters or badly typed letters might mean a row's composer name is being compared to quite the wrong composer name. For example, “Aaron Copland”, “Aarre Merikanto” and “Aaton Copland” would mean that “Aaton Copland” would be compared to “Aarre Merikanto” not “Aaron Copland”, because the 't' makes it sort after Merikanto's 'r' in the same spot, even though it clearly involves a mis-typing of Copland's first name. Nevertheless, that might still be helpful:

Aaron Copland				
Aarre Merikanto	        Aaron Copland	104890	-80053	
Aaton Copland	        Aarre Merikanto	24837	-23601	
Adolph Weiss	        Aaton Copland	1236	-81	NEAR MATCH
Adolphe Adam	        Adolph Weiss	1155	4365	
Adrian Willaert	        Adolphe Adam	5520	4693

Even though “Aaton Copland” is being compared to the wrong composer name, the 'Near Match' flag is still raised by the query, and that's enough of a pointer to make one realise what has gone on.

You will need to run the report multiple times, too, with different values for the 'near match' threshold. It's not a sure thing that a typo of “Part” for “Pärt” will trigger the near match flag, even with the threshold set into the thousands, for example. But by increasing the threshold significantly, though you'll get plenty of false positives, you do improve your chances of spotting the actual mis-catalogues, too.

sacds390

Anonymous (anonymous@undisclosed.example.com) — 2025-10-27T15:35:15+00:00

SACD Ripping with the Sony BSD-S390

1.0 Introduction

The main SACD Ripping article describes me achieving things with a Sony S490 Blu-ray player. It happens to be cheap and widely available on the likes of EBay. Obviously, however, different hardware will need different approaches… and I simply don't have the resources to test every Blu-ray player in existence! I am therefore extremely grateful to Scott Starry for writing in with his instructions on how to do the SACD ripping dance using (in his case) a Sony BDP-S390 player. I obviously can't vouch for what he writes from personal experience, but I trust his ability to document, so his insight is offered here, verbatim, to assist you if you happen to be using that player, too. Note that Scott appears to be using Windows as his main operating system -which is entirely fine, but you need to keep that in mind.

2.0 Latest platform releases

https://github.com/sacd-ripper/sacd-ripper/releases
sacd_extract-0.3.9.3-107-linux.zip
sacd_extract-0.3.9.3-107-macOS.zip
sacd_extract-0.3.9.3-107-win64.zip
sacd_extract-0.3.8.3-78-linux-ARM.zip

Personal settings:

IP address is fixed at 192.168.2.150
Netmask: 255.255.255.0
Gateway: 192.168.2.1
DNS: 192.168.2.1

3.0 Instructions

Configure settings on Sony BDP-S390 and the USB thumb drive as per instructions in Sections 2 through 4 of the main SACD Ripping article

NOTE: Be patient with all operations. The unit is slow to respond and has no indicator lights other than connected to power.

After that:

Connect Sony BDP-S390 to LAN.
Plug unit into receptacle.
Press power button. Wait at least 15 seconds.
Press button to open drawer. May require more than one press.
Place SACD in drawer.
Insert USB thumb drive labeled SACD USB into the USB-A slot on the front. (There is only one USB-A slot).
Wait for the drawer to close and listen for the transport to stop. If in doubt, wait 20 seconds.
Press the power button to place the Blu-ray player into “Sleep Mode”.
On a Windows 11 computer, open a command window and ensure that the player is reachable by using the command:

ping <IP Address>

For example, the ping 192.168.2.150 should allow you to obtain the usual type of reply:

Pinging 192.168.2.150 with 32 bytes of data:
Reply from 192.168.2.150: bytes=32 time=1ms TTL=64
Reply from 192.168.2.150: bytes=32 time&lt;1ms TTL=64
Reply from 192.168.2.150: bytes=32 time=1ms TTL=64

In the same (or another) command window, using the software from sacd_extract, review the information on the SACD so that one may confirm the that the SACD can be read. Use the command:

sacd_extract[.exe] -i <IP address>:2002 -P

The brackets [] indicate that on Windows, the extension of the executable should be included.

You should now see the title of the SACD, the Disc, the Album (often the same as the Disc), the Area Count (greater than one if more than one work is on the Album), information about the Tracks (under each Area).

In the same (or another) command window, using the sacd_extract software, issue the either of the following commands:

sacd_extract[.exe] -s -2 -z -i <IP address>:2002 -o <folder to hold the DSF files>

…or…

sacd_extract[.exe] -I -2 -z -i <IP address>:2002 -o <folder to hold the ISO file>

Upon issuing the command, one should hear the transport activate. Several seconds will pass (usually five) before one will see messages of the form (for an ISO):

Processing [<folder>\<album>.iso] (n/m)..
Completed: a% (bMB), Total: x% (yMB) at zMB/sec

…where n, m, a, and x are integers, and b, y, and z are floating point values.

CAUTION: If the process does not start for some reason after the sacd_extract command has been issued, and you use CTRL+C or simply close the window, you may cause your local network to fail. To recover, disconnect the Ethernet cable from the BDP-S390. The network should recover within seconds. I have not found an explanation for this behaviour.

Wait. The preferred DSF file extraction usually takes about five (5) minutes, no more than ten (10). An ISO rip may take 25 minutes, but 15 is more common as the SACDs are often not full. My ISO rips reported a rate of 2.9 MB/s and measured at 3.2 MB/s.

Press the button to open the tray, and remove the SACD.
Press the button to close the tray. Note: The tray may close on its own.
Unplug the unit and remove the USB stick.
If another SACD is to be ripped, do not disconnect the Ethernet cable; otherwise, disconnect the cable and put the BDP-S390 away.

To rip another SACD, start again at Step 2. Note: The BDP-S390 is a “one-hit wonder”: It can only rip one SACD before needing to be rebooted. However, as long as the tray is not opened, several sacd_extract commands can be issued against the same SACD such as using the options -P (information), -s (generate DSF files), and -I (generate ISO file).

BBritten.com - articles

axioms

The Axioms of Classical Music Tagging

1.0 Introduction

Axiom 1: The Tags We Need (and the one's we don't!)

Axiom 2: ARTIST and COMPOSER are the same thing

Axiom 3: COMMENT is where performer details go

Axiom 4: GENRE is a single word sub-division, not a musicological exactitude

Axiom 5: The ALBUM is for the *extended* Composition Name

Axiom 6: The PERFORMER tag is for the 'distinguishing artist'

Axiom 7: The YEAR tag is for (an approximation of) the Recording Year

Axiom 8: The only track-specific metadata are track number and title

Axiom 9: TRACKNUMBER always starts at 1

Axiom 10: TITLE should be //musically// factual, not full of extraneous detail

Summary So Far

Axiom 11: There is no place for a Disc Number

Axiom 12: Composers were people with more than just surnames!

Axiom 13: Be Grammatical!

Axiom 14: Non English-speakers use diacritic marks. So should you.

Axiom 15: Don't be Obvious

Axiom 16: Album Art is important

Axiom 17: The Physical Structure of your music library should match your Logical Structure

An Axiomatic Conclusion

2.0 Some Discussions

2.1 What's an Album?

2.2 Why no ALBUM ARTIST?

2.3 Composer Names

2.4 Searching by COMMENT

3.0 Conclusion

bachcat

Johann Sebastian Bach Cantatas

buildarch

Build a VM running Arch

1.0 Introduction

2.0 The Basics

3.0 Getting Started

3.1 Initial Configuration

3.2 Installing the Operating System

3.3 Post OS-Installation Configuration

3.4 Finishing things off

4.0 Final Tweaks

5.0 Conclusion

bulkreplaygain

Adding ReplayGain to FLACs in Bulk

1.0 Introduction

3.0 The Script Explained

4.0 Running the Script

cleanpdf

Cleaning PDFs of Metadata

composekey

dshensmith

Why Daniel Shensmith is Wrong

howtopro

Build a Giocoso Pro Server on Arch

1.0 Introduction

2.0 The Basics

3.0 Getting Started

4.0 Initial Steps

4.1 Keyboard Selection

4.2 Prepare the Hard Disk

4.3 Installing the Operating System

4.4 Post OS-Installation Configuration

4.5 Configure Some Users

4.6 And finally...

5.0 Installing Giocoso Pro

6.0 Final Checks from Clients

7.0 Conclusion

howtoripansacd

How to Rip an SACD

1.0 Introduction

2.0 The Hardware

2.1 The Blu-ray Player

Sony

Pioneer

Oppo

Cambridge

Arcam

Primare

Electrocompaniet

Denon

Axiom 5: The ALBUM is for the extended Composition Name