Optagelserne er fra før krigen, men sikke en musikforståelse og fortolkning han laver. Hvis man kan leve med suset er det stor stor musik.
Lige nu høre jeg nr. 24
Hvad hører du nu ?
af troelsmeister » tors okt 12, 2006 21:12
Fik i en anden tråd hvor der blev diskuteret LvB og piano sonaterne anbefalet en boks med samtlige sonater med Arthur Schnabel. Så fluks kom sættet hjem fra mdt.
Optagelserne er fra før krigen, men sikke en musikforståelse og fortolkning han laver. Hvis man kan leve med suset er det stor stor musik.
Lige nu høre jeg nr. 24
Optagelserne er fra før krigen, men sikke en musikforståelse og fortolkning han laver. Hvis man kan leve med suset er det stor stor musik.
Lige nu høre jeg nr. 24
A Fanatic is a person who won't change his mind and who won't change the subject - Winston Churchill.
- troelsmeister
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af troelsmeister » fre okt 13, 2006 09:47
I dag start vi med en anden SES anbefaling.
Nikolai Lugansky der spiller Rachmanikov.
Det er en fin plade synes jeg. Den har vundet: Diapason D'Or.
Nikolai Lugansky der spiller Rachmanikov.
Det er en fin plade synes jeg. Den har vundet: Diapason D'Or.
A Fanatic is a person who won't change his mind and who won't change the subject - Winston Churchill.
- troelsmeister
- Moderator
- Indlæg: 214
- Tilmeldt: man okt 31, 2005 14:44
- Geografisk sted: Østjylland
af SES. » fre okt 13, 2006 12:42
En gave som jeg har givet mig selv. Udgivet af den fantastiske Armstrong, dem der læser hifi+ kender udgivelserne fra coup d'archet.
Michèle Auclair was born in Paris on November 16th 1924, into a family where arts and culture had an important place. Both her father and grandfather were painters and amateur musicians, and it is to them she owes her passion for music. At the age of four she heard Beethoven’s Kreutzer sonata and was moved to ask her parents for a violin. Her first teacher was Line Talluel, known also for teaching Ginette Neveu. At the Paris Conservatoire she became a pupil of Jules Boucherit before studying under Boris Kamensky and Jacques Thibaud. While still at the Conservatoire she was giving concerts with fellow students like Janine Andrade, another gifted young violinist.
In 1943 she was prizewinner of the first Marguerite Long-Jacques Thibaud Competition - Samson François won the prize for piano. Included in the prize was the opportunity to make a record. With the Orchestre de la Société des Concerts du Conservatoire under Thibaud himself, she recorded Haydn’s C Minor Violin Concerto for Pathé. In 1946, the year before Johanna Martzy’s success there, Michèle won the first prize for violin at the Geneva Concours. Thus began the career that would take her across Europe and the Americas.
In 1956 Auclair began an important collaboration and musical friendship with the pianist Jacqueline Bonneau (later Robin), herself a deep and cultured musician. A classmate of Paul Tortelier and Henri Dutilleux in the harmony class at the Conservatoire, Jacqueline Bonneau was a pupil of Lazare Levy. In the disciplines of piano, harmony, music history, fugue and accompaniment she received ‘First Prizes’. She gave her debut concert in 1945. Later that year she formed a two-piano duo with Genevieve Joy, critically regarded as the best in its field for their presentation of contemporary music. Though known primarily as an accompanist, given her years with Elisabeth Schwarzkopf, Irma Kolassi, Gedda, Sciutti, Sénéchal and Pierre Fournier, Bonneau was an accomplished and respected solo performer in her own right.
They gave their first performance in May 1957 at the Comédie des Champs Elysées performing the third of Bach’s accompanied sonatas, Brahms’ third and Bartok’s first. The critics were immediately attracted by this new partnership. ‘Mme Auclair’s bow was by turns warm, violent, harsh or tender, but always personal, especially in the medium and low notes. By her side, Mme Robin showed herself to be an excellent performer.’ The duo was to make but one record together, for Discophiles Français, a 10" disc featuring the Debussy and Ravel sonatas.
In 1962 Michèle began a new collaboration with Genevieve Joy-Dutilleux. Five years Auclair’s senior, Joy was professor of chamber music at the Paris Conservatoire, and had considerable experience (notably with Jeanne Gautier and the Trio de France). They made two records of Schubert’s duo works for Erato. Touring extensively, music lovers and critics alike reproached Auclair for not performing enough in Paris. Her playing amazed them all, so full of energy and passion, and much was made of her evident development.
When David Oistrakh invited her to play in Russia with the Moscow Philharmonic under Kondrashin she chose her repertoire bravely. If she nonplussed the orchestra during rehearsal by not only playing their very own Tchaikovsky, but also playing very much in the Russian manner, they were stunned when she told them that she had been a pupil of Kamensky. Indeed many were reduced to tears! "No one admires the Russian school more than I do, and my own approach is a combination of the Russian and the Franco-Belgian schools"French from my origins and from my first teacher, Line Talluel, but Russian too, from a man to whom I owe everything ‘violinistic’, Boris Kamensky - a student of Auer and the ex-first violin to the Tsar! He had such a passion for his instrument to the point that, on the eve of the Revolution when he found himself obliged to quit the country, Kamensky found himself with a serious problem - whether to take his wife or his Stradivarius...and he carried off his Strad!"
In matters of interpretation she has always freely admitted her debts to Jacques Thibaud, to Charles Munch, to Georges Enescu, "who advised me a great deal in the USA", and Edwin Fischer, "with whom I had the joy of playing as soloist". According to her, to make a career as a violinist requires a strong physical constitution and very good health. She likes to tell how Oistrakh, who turned up at her last recital of the three-week Russian tour, joked "I simply wanted to see how you would make it after 20 concerts!"
For Auclair, "The idea of a violin recital is not valid these days. One could give a session of sonatas, but hardly a recital, properly speaking. As much as it is thrilling to play a sonata, by Beethoven for example, or Ravel, Prokofiev, Bartok, it is equally without interest to me to perform the well-known ‘Zapateado’, the ‘pearls’ of the violin, the ‘jewels’ or other ‘encore pieces’! Paganini did us an injustice in the last century, in making the violinist a ‘stage monkey’, an acrobat of the four strings!" The two masterpieces of twentieth century violin literature for her are the Alban Berg concerto and the Bartok Sonata for Solo Violin. Of the latter she has said, "..it’s something hardly imaginable! It seems hardly believable one can make a violin sound like that, without ever going beyond the proper limits of the instrument! It’s genius!" Auclair’s chosen instruments during her career were a Guadagnini and a 1732 Guarneri del Gesu
A modest woman, Michèle Auclair has always preferred to discuss someone or something apart from herself and because of this, her life has remained somewhat mysterious. By choosing the relative anonymity of teaching and jury work on the international competition circuit, she has only increased the curiosity of her many admirers. She is an intensely private person, and truly professional, as attested by musical partners Robin and Joy. Although they worked with Auclair for years, they know little or nothing about the woman behind the violin or if they do, are loyal in their silence. However it is clear that the close of the sixties was a difficult time for her, given the automobile accident that precipitated her abrupt withdrawal from the concert stage, and in 1970 the loss of her dear friend Samson François. She has been married twice, first to the composer Antoine Duhamel, later to the prominent music critic Armand Panigel.
Auclair was appointed professor of violin at the Paris Conseratoire in 1967 alongside Pierre Doukan. Over the next twenty years their students collected more than 45 international prizes. She continues to teach at the New England Conservatoire in Boston, and is honorary professor at the Conservatoire Nationale Supérieure de Musique de Paris. In 1995 Michèle Auclair was awarded the Légion d’Honneur for her contributions to music.
"Personally, I prefer the violin accompanied by piano or orchestra. Then there is a greater fullness, and that’s what I ask first of music, it’s that feeling of fullness which counts more than everything, that forms the true purpose of the artist’s life." She has always expressed regret that she had not performed more chamber work. Given her meagre recorded legacy perhaps this recording will restore the balance just a little.
© Glenn Armstrong/Jean-Marc Harari 2002
Michèle Auclair was born in Paris on November 16th 1924, into a family where arts and culture had an important place. Both her father and grandfather were painters and amateur musicians, and it is to them she owes her passion for music. At the age of four she heard Beethoven’s Kreutzer sonata and was moved to ask her parents for a violin. Her first teacher was Line Talluel, known also for teaching Ginette Neveu. At the Paris Conservatoire she became a pupil of Jules Boucherit before studying under Boris Kamensky and Jacques Thibaud. While still at the Conservatoire she was giving concerts with fellow students like Janine Andrade, another gifted young violinist.
In 1943 she was prizewinner of the first Marguerite Long-Jacques Thibaud Competition - Samson François won the prize for piano. Included in the prize was the opportunity to make a record. With the Orchestre de la Société des Concerts du Conservatoire under Thibaud himself, she recorded Haydn’s C Minor Violin Concerto for Pathé. In 1946, the year before Johanna Martzy’s success there, Michèle won the first prize for violin at the Geneva Concours. Thus began the career that would take her across Europe and the Americas.
In 1956 Auclair began an important collaboration and musical friendship with the pianist Jacqueline Bonneau (later Robin), herself a deep and cultured musician. A classmate of Paul Tortelier and Henri Dutilleux in the harmony class at the Conservatoire, Jacqueline Bonneau was a pupil of Lazare Levy. In the disciplines of piano, harmony, music history, fugue and accompaniment she received ‘First Prizes’. She gave her debut concert in 1945. Later that year she formed a two-piano duo with Genevieve Joy, critically regarded as the best in its field for their presentation of contemporary music. Though known primarily as an accompanist, given her years with Elisabeth Schwarzkopf, Irma Kolassi, Gedda, Sciutti, Sénéchal and Pierre Fournier, Bonneau was an accomplished and respected solo performer in her own right.
They gave their first performance in May 1957 at the Comédie des Champs Elysées performing the third of Bach’s accompanied sonatas, Brahms’ third and Bartok’s first. The critics were immediately attracted by this new partnership. ‘Mme Auclair’s bow was by turns warm, violent, harsh or tender, but always personal, especially in the medium and low notes. By her side, Mme Robin showed herself to be an excellent performer.’ The duo was to make but one record together, for Discophiles Français, a 10" disc featuring the Debussy and Ravel sonatas.
In 1962 Michèle began a new collaboration with Genevieve Joy-Dutilleux. Five years Auclair’s senior, Joy was professor of chamber music at the Paris Conservatoire, and had considerable experience (notably with Jeanne Gautier and the Trio de France). They made two records of Schubert’s duo works for Erato. Touring extensively, music lovers and critics alike reproached Auclair for not performing enough in Paris. Her playing amazed them all, so full of energy and passion, and much was made of her evident development.
When David Oistrakh invited her to play in Russia with the Moscow Philharmonic under Kondrashin she chose her repertoire bravely. If she nonplussed the orchestra during rehearsal by not only playing their very own Tchaikovsky, but also playing very much in the Russian manner, they were stunned when she told them that she had been a pupil of Kamensky. Indeed many were reduced to tears! "No one admires the Russian school more than I do, and my own approach is a combination of the Russian and the Franco-Belgian schools"French from my origins and from my first teacher, Line Talluel, but Russian too, from a man to whom I owe everything ‘violinistic’, Boris Kamensky - a student of Auer and the ex-first violin to the Tsar! He had such a passion for his instrument to the point that, on the eve of the Revolution when he found himself obliged to quit the country, Kamensky found himself with a serious problem - whether to take his wife or his Stradivarius...and he carried off his Strad!"
In matters of interpretation she has always freely admitted her debts to Jacques Thibaud, to Charles Munch, to Georges Enescu, "who advised me a great deal in the USA", and Edwin Fischer, "with whom I had the joy of playing as soloist". According to her, to make a career as a violinist requires a strong physical constitution and very good health. She likes to tell how Oistrakh, who turned up at her last recital of the three-week Russian tour, joked "I simply wanted to see how you would make it after 20 concerts!"
For Auclair, "The idea of a violin recital is not valid these days. One could give a session of sonatas, but hardly a recital, properly speaking. As much as it is thrilling to play a sonata, by Beethoven for example, or Ravel, Prokofiev, Bartok, it is equally without interest to me to perform the well-known ‘Zapateado’, the ‘pearls’ of the violin, the ‘jewels’ or other ‘encore pieces’! Paganini did us an injustice in the last century, in making the violinist a ‘stage monkey’, an acrobat of the four strings!" The two masterpieces of twentieth century violin literature for her are the Alban Berg concerto and the Bartok Sonata for Solo Violin. Of the latter she has said, "..it’s something hardly imaginable! It seems hardly believable one can make a violin sound like that, without ever going beyond the proper limits of the instrument! It’s genius!" Auclair’s chosen instruments during her career were a Guadagnini and a 1732 Guarneri del Gesu
A modest woman, Michèle Auclair has always preferred to discuss someone or something apart from herself and because of this, her life has remained somewhat mysterious. By choosing the relative anonymity of teaching and jury work on the international competition circuit, she has only increased the curiosity of her many admirers. She is an intensely private person, and truly professional, as attested by musical partners Robin and Joy. Although they worked with Auclair for years, they know little or nothing about the woman behind the violin or if they do, are loyal in their silence. However it is clear that the close of the sixties was a difficult time for her, given the automobile accident that precipitated her abrupt withdrawal from the concert stage, and in 1970 the loss of her dear friend Samson François. She has been married twice, first to the composer Antoine Duhamel, later to the prominent music critic Armand Panigel.
Auclair was appointed professor of violin at the Paris Conseratoire in 1967 alongside Pierre Doukan. Over the next twenty years their students collected more than 45 international prizes. She continues to teach at the New England Conservatoire in Boston, and is honorary professor at the Conservatoire Nationale Supérieure de Musique de Paris. In 1995 Michèle Auclair was awarded the Légion d’Honneur for her contributions to music.
"Personally, I prefer the violin accompanied by piano or orchestra. Then there is a greater fullness, and that’s what I ask first of music, it’s that feeling of fullness which counts more than everything, that forms the true purpose of the artist’s life." She has always expressed regret that she had not performed more chamber work. Given her meagre recorded legacy perhaps this recording will restore the balance just a little.
© Glenn Armstrong/Jean-Marc Harari 2002
mvh. SES.
To listen is an effort, and just to hear is no merit. A duck hears also. Igor Stravinsky
Vi har alle lært at skjule vore fordomme, og vi viser ikke vore forkerte meninger. PO Enquist 1976.
To listen is an effort, and just to hear is no merit. A duck hears also. Igor Stravinsky
Vi har alle lært at skjule vore fordomme, og vi viser ikke vore forkerte meninger. PO Enquist 1976.
-
SES. - Supermedlem
- Indlæg: 2578
- Tilmeldt: tirs okt 25, 2005 06:58
- Geografisk sted: Midtfyn
af zaka » fre okt 13, 2006 12:58
Fin live optagelse af Don Van Vliet da han var bedst:
Rhino Handmade limited edition 2CD (5000 stk.) fra 2000.
EDIT: Læs mere her:
http://www.beefheart.com/datharp/albums/official/whatiwannado.htm
Rhino Handmade limited edition 2CD (5000 stk.) fra 2000.
EDIT: Læs mere her:
http://www.beefheart.com/datharp/albums/official/whatiwannado.htm
--
Med venlig hilsen
zaka
Talking about music is like dancing about architecture.
~ Thelonious Monk
If you got the technique and I got a good sound, I'll beat you every time. You can play a thousand notes and I can play one note and wipe you out.
~Dewey Redman
Flere røverhistorier fra ZIG, tak!
Med venlig hilsen
zaka
Talking about music is like dancing about architecture.
~ Thelonious Monk
If you got the technique and I got a good sound, I'll beat you every time. You can play a thousand notes and I can play one note and wipe you out.
~Dewey Redman
Flere røverhistorier fra ZIG, tak!
-
zaka - Supermedlem
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- Tilmeldt: tirs nov 08, 2005 22:22
- Geografisk sted: Roskilde
af troelsmeister » fre okt 13, 2006 13:13
Go!
Fra AMG:
Gordon had many high points in his five decade-long career, but this is certainly the peak of it all.
Fra AMG:
Gordon had many high points in his five decade-long career, but this is certainly the peak of it all.
A Fanatic is a person who won't change his mind and who won't change the subject - Winston Churchill.
- troelsmeister
- Moderator
- Indlæg: 214
- Tilmeldt: man okt 31, 2005 14:44
- Geografisk sted: Østjylland
af macwerk » fre okt 13, 2006 14:39
SES. skrev:Michèle Auclair er noteret, takker
The two masterpieces of twentieth century violin literature for her are the Alban Berg concerto and the Bartok Sonata for Solo Violin. Of the latter she has said, "..it’s something hardly imaginable! It seems hardly believable one can make a violin sound like that, without ever going beyond the proper limits of the instrument! It’s genius!"
Sonaten mindes jeg ikke at have fået fat i, men jeg sprang vist B-siden over på nedenstående - op på karrusellen med den
macwerk skrev:Supraphon 1110 3180 ZA
Josef Suk, János Ferencsik/Czech PO
Bela Bartok, Concerto #1 for violin and orch
Josef Suk, Václav Neumann/Czech PO
Alban Berg, Concerto for violin and orch.
Herligt - Berg'en sprang jeg over for i dag.
-
macwerk - Supermedlem
- Indlæg: 1830
- Tilmeldt: fre nov 11, 2005 09:42
af SES. » fre okt 13, 2006 14:39
Skal hjem og hygge med
Van Halen / Van Halen
Black Sabbath / Paranoid
Cash / I Walk the Line
Booker T & The MG's / Doin Our Thing
Charlie Parker / Birds is Free
Ahmad Jamal / Listen
Thad Jones- Lewis / Live at the Village Vanguard
Afrique Noire / Afrikanske instrumenter
Scorede Tom Joad på ebay - og der er ingen Dørge vinyl i Odense
Van Halen / Van Halen
Black Sabbath / Paranoid
Cash / I Walk the Line
Booker T & The MG's / Doin Our Thing
Charlie Parker / Birds is Free
Ahmad Jamal / Listen
Thad Jones- Lewis / Live at the Village Vanguard
Afrique Noire / Afrikanske instrumenter
Scorede Tom Joad på ebay - og der er ingen Dørge vinyl i Odense
Senest rettet af SES. fre okt 13, 2006 18:34, rettet i alt 1 gang.
mvh. SES.
To listen is an effort, and just to hear is no merit. A duck hears also. Igor Stravinsky
Vi har alle lært at skjule vore fordomme, og vi viser ikke vore forkerte meninger. PO Enquist 1976.
To listen is an effort, and just to hear is no merit. A duck hears also. Igor Stravinsky
Vi har alle lært at skjule vore fordomme, og vi viser ikke vore forkerte meninger. PO Enquist 1976.
-
SES. - Supermedlem
- Indlæg: 2578
- Tilmeldt: tirs okt 25, 2005 06:58
- Geografisk sted: Midtfyn
af zaka » fre okt 13, 2006 20:45
Jeg har skrevet om den før, men nu er den kommet på vinyl for første gang og det er stadig en af de fedeste rock skiver jeg ejer.
Fra allmusic.com:
"...From the opening "Vacuum Boots" onward, Take It From the Man! is gritty, swaggering R&B-influenced rock, delivered with remarkable assurance and attitude; singer Anton Newcombe is half madman and half shaman, and he commands each delirious moment with absolute mastery, emerging not so much a disciple of Mick Jagger but as a serious threat to the throne. Tracks like "Who?," "(David Bowie I Love You) Since I Was Six," and the epic finale, "Straight up and Down," are simply amazing, evoking rock's golden age without ever disintegrating into slavish devotion -- clearly, the BJM is a group that believes in killing their idols, and their intensity begs the question: just who is the World's Greatest Rock & Roll Band again?"
The Brian Jonestown Massacre - Take It From The Man 1996, nu ude på vinyl fra Tee Pee Records.
Jeg har hentet min i Soundstation (ltd. rød/blå vinyl).
--
Med venlig hilsen
zaka
Talking about music is like dancing about architecture.
~ Thelonious Monk
If you got the technique and I got a good sound, I'll beat you every time. You can play a thousand notes and I can play one note and wipe you out.
~Dewey Redman
Flere røverhistorier fra ZIG, tak!
Med venlig hilsen
zaka
Talking about music is like dancing about architecture.
~ Thelonious Monk
If you got the technique and I got a good sound, I'll beat you every time. You can play a thousand notes and I can play one note and wipe you out.
~Dewey Redman
Flere røverhistorier fra ZIG, tak!
-
zaka - Supermedlem
- Indlæg: 1324
- Tilmeldt: tirs nov 08, 2005 22:22
- Geografisk sted: Roskilde
af SES. » fre okt 13, 2006 21:48
troelsmeister skrev:I dag start vi med en anden SES anbefaling.
Nikolai Lugansky der spiller Rachmanikov.
Det er en fin plade synes jeg. Den har vundet: Diapason D'Or.
er glad for at du kan lide den - pudsigt nok var det den CD wifi havde på da jeg kom hjem idag. Luganski har et fornemt anslag og han finder sangen i Rachi's vildt mange noder - og så blir det musik istedet for flot klimperi. En god start på weekenden.
mvh. SES.
To listen is an effort, and just to hear is no merit. A duck hears also. Igor Stravinsky
Vi har alle lært at skjule vore fordomme, og vi viser ikke vore forkerte meninger. PO Enquist 1976.
To listen is an effort, and just to hear is no merit. A duck hears also. Igor Stravinsky
Vi har alle lært at skjule vore fordomme, og vi viser ikke vore forkerte meninger. PO Enquist 1976.
-
SES. - Supermedlem
- Indlæg: 2578
- Tilmeldt: tirs okt 25, 2005 06:58
- Geografisk sted: Midtfyn
af troelsmeister » fre okt 13, 2006 21:54
SES. skrev:er glad for at du kan lide den - pudsigt nok var det den CD wifi havde på da jeg kom hjem idag. Luganski har et fornemt anslag og han finder sangen i Rachi's vildt mange noder - og så blir det musik istedet for flot klimperi. En god start på weekenden.
Specielt nr. 1 på den cd er jeg helt vild med. Den har bare sådan en flot og interessant udvikling fra pianisimo i de dybe oktaver til godt gang i den over hele spektret.
Nu hører jeg.
Dust in my coffee. For første gang. Vist en OK skive - stille og rolig.
A Fanatic is a person who won't change his mind and who won't change the subject - Winston Churchill.
- troelsmeister
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af Thomas » søn okt 15, 2006 15:11
Som en slags opvarmning til aftenens koncert med Lambchop har jeg lige fundet et par af deres skiver frem:
Is a Woman
Aw cmon/No you cmon
Kedelig Country!? Det synes jeg bestemt ikke man kan kalde det, her er hvad Jason Ankeny skriver om dem:
Touted as "Nashville's most f*cked-up country band" by their label Merge Records, Lambchop was arguably the most consistently brilliant and unique American group to emerge during the 1990s. Their unclassifiable hybrid of country, soul, jazz, and avant-garde noise seemed at one time or another to drink from every conceivable tributary of contemporary music, its baroque beauty all held together by the surreal lyrical wit and droll vocal presence of frontman Kurt Wagner.
Is a Woman
Aw cmon/No you cmon
Kedelig Country!? Det synes jeg bestemt ikke man kan kalde det, her er hvad Jason Ankeny skriver om dem:
Touted as "Nashville's most f*cked-up country band" by their label Merge Records, Lambchop was arguably the most consistently brilliant and unique American group to emerge during the 1990s. Their unclassifiable hybrid of country, soul, jazz, and avant-garde noise seemed at one time or another to drink from every conceivable tributary of contemporary music, its baroque beauty all held together by the surreal lyrical wit and droll vocal presence of frontman Kurt Wagner.
- Thomas
- Entusiastmedlem
- Indlæg: 153
- Tilmeldt: tirs okt 25, 2005 21:23
- Geografisk sted: op ad gribskov
af vilmann » man okt 16, 2006 22:06
Først:
Men det projekt blev afbrudt. Stevie har en dejlig fed og beskidt lyd på Stratocasteren, men det hele er for gumpetungt.
SÃ¥ er der meget mere sjov ved Live at Montreux:
Det er ikke spor gumpetungt. Et par af numrene tager lige lidt tid om at komme ordentligt i gang, men så er der også plads til at lege......
/vilmann
Men det projekt blev afbrudt. Stevie har en dejlig fed og beskidt lyd på Stratocasteren, men det hele er for gumpetungt.
SÃ¥ er der meget mere sjov ved Live at Montreux:
Det er ikke spor gumpetungt. Et par af numrene tager lige lidt tid om at komme ordentligt i gang, men så er der også plads til at lege......
/vilmann
- vilmann
af Thomas Sillesen » tirs okt 17, 2006 09:15
Den nye Beck, langt bedre end anmeldelserne
Med venlig hilsen
Thomas Sillesen
Thomas Sillesen
- Thomas Sillesen
- Branchemedlem
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af macwerk » tirs okt 17, 2006 15:37
Hvor er her stille 
Udfra stakken at dømme, så bliver der også snart stille herfra
Jeg har anskaffet noget brugt multi-tolerant diginik, så her høres min enlige SACD med Perahias udgave af Bachs Goldberg Variationer
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macwerk - Supermedlem
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