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'the Worth Of Art Appears Host Eminent Dc Music, Since It Requires Ho Material, Xo Subject-matter, Whos

MUST BE DEDUCTED: IT IS WHOLLY FORM AMD POWER, AMD IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES." Oftht.

SUBSCRIPTION—Stamped for Poetage-20a. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holies Street, Cavendish Sq. London, Vf.

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MADEMOISELLE PAREPPA, in compliance with the terms of a prior engagement, has left London for a Provincial Tour. She will resume her engagement at Covent Garden on the 1st January, 1863. (0 Hunter Street, Brunswick Square. 24th Nov., 1862.

LLE. MARIE FLORIANI (pupil of the Conservatoire, Paris) has the honour to announce her first ORAND EVENING CONCERT for the 18th of next month, at the Hanover Square Rooms, supported by Miss Rochfort, Herr Relchardt, Signor Fortuna. Pianoforte, M. Ascher; Violoncello, Sig. Piatti; Harmonium, Herr Engel. Conductor, M. Benedict. Further particulars in future announcements. Tickets at the musicsellers, and at Mile. Floriaui's residence, 61, Margaret Street, Cavendish Square.

TRS. J. HOLMAN ANDREWS begs to announce

SIX SOIREES MUSICAI.ES for the PRACTICE OF VOCAL MUSIC i classes. The second will take place at her residence, on Thursday evening, December 3rd. For terms, apply to Mrs. J. Holman Andrews, 60 Bedford Square, W.C.

MRS- JOHN MACFARREN will give her New

1VJL Entertainment, "A MORNING AT THE PIANOFORTE," written by O. A. Macfarren, for the third time at St. James's Hall, on Thursday next, 3rd December, at Three o'clock precisely. Mrs. John Macfarren, assisted by Miss Eliza Hughes, vocalist, will illustrate the lecture with specimens of Handel, Haydn, Beethoven, Weber, Mendelssohn, Thalberg, Ac., Ac. Tickets and programmes at Chappell's.

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SALE OF VERT BARE OLD VIOLINS

{By Stradinanu, Amati, and Otheri)

IN

MR. CHAPMAN'S GREAT BOOM,

11 Hixovm Stxiit, EDtxerROH, On 6th Deoember, 1802.

See Particular) in the" North Britith Advtrtiter.n

rpHE GRUEISEN TESTIMONIAL—The Committee

I for carrying out the Testimonial to be presented to Charles Lewis Grueisen, Esq., F.R.O.S., the Secretary of the Conservative Land Society, will close the Subscription early In the ensuing month. The proposed Testimonial, it should be stated, although emanating mainly from the Shareholders, Allottees, Ac., of the i Land I"'

Society, has been extended, by general request, to the political, literary, and artistic circles, and to all friends of the Secretary, as will be seen by reference to the gratifying list of Subscribers up to the present period, a copy of which, together with a form to fill up by those who desire to subscribe, will be forwarded on application to John D'axth, 3 Norfolk Street, Strand, London, W.C, the Honorary Secretary. Cheques or Post-office Orders to be made payable to Jixii Woddiufoon, Esq., Honorary Treasurer.

TNSTRUCTIONS ON THE GUITAR, GERMAN

JL LANGUAGE, and SINGING, are given by an eminent Professor of Music, at

-present settled In London, attending Pupils at their own Residences. For Cards of Address and Terms, apply to Messrs. Booeey and Sons, Holies Street, Oxford Street.

ASHDOWN & PARRY (successors to Wessel & Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to bo made at Midsummer and Christmas. Their Catalogues, which contain a great variety of Music calculated for teaching i, may be had, post-free, on application.

London: 18 Hanover Square.

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must be rendered -with only a slight emphasis, -which immediately sinks, in the very samo bar, to an almost inaudible piano, is, after what has already been said concerning the sfz in the piano, selftevident. AJ1 tendency to the crescendo in these long, periods, up to the last bar before the fortissimo, must be sternly kept under. This, as experience often proves, is most difficult in the middle passage of twenty-eight bars after the passage descending towards g, through the gradations of the E flat major triad, in the ff (pag$ 184 and page 156), especially when the second violins begin with the figure:—

figure is taken id horns at the

which hurries forward, almost irresistibly, to the crescendo, an yet the latter must not commence even when the up by the first violin, as well as by the trim

same time, but only four bars before the fortissimo of the dominant chord (page 137).

On the whole, these extended periods, in piano, and without accent, belong to the system of preparing an astounding effect, also first employed by Beethoven, on a grand and, therefore, originally, striking scale. This system of preparation excites the attention of the hearer in an extraordinary fashion; but it is the task of genius not to disappoint expectation (" nascetur ridiculus mus"), but, all at once, to cause the light, whose brilliancy fills both eye and soul, and extoi-ts an outcry of admiration, to stream in upon the mysterious darkness of the softly whirring and buzzing In the first movement of the Uroica, the passage cited : end of the development, the 18—20 bars pp, come under i and even the long pianissimo in the scherzo is, after all, ; more nor less than a preparation for the entrance of the artissimo.

Even as early as in the Symphony, No. I. in C major, Beethoven employed, in the trio of the Minuet, a continuous piano for forty bars; but, in that instance, more in simple opposition to the forte, as Haydn and Mozart, also, have done. The motives, too, of the trio in question, cannot possibly be played by the wind instruments ■with a total absence of acoent, although the figures of the violins must be so played. In. the Sym^phojiY, No. H. in D major, the system of preparation is already more evident in the Finale, pages 143 and 144 (Simrock's Score), and especially after the Double Feronata, page 150 to page 153, in the thirty-four ba*sy the conclusion of which is:—

y j, j.

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But the genius of the master is exhibited still more plainly in preparing for the return of the principal theme in the second part of the first allegro of the B flat major Symphony, No. TV. These fifty-six bars sempre pianissimo (pages 38—45) without arj accentuation or gradation of expression, with their enharmonio mutation, the beautifully simple modulation to B flat major, and the mysterious roll of the'kettledrums, excite the mind in a wonderful jananner, while the creseexdo, twelve bars long, 'which follows the silent expectation thus produced, gradually works it up more and xnore, until, at the entrance of the theme, joyfully drawing breath, j.% finds, reU^and^tisfcKtioa. a Y.UtTikl -v*TM^

* Fran the Nitdtrrheminht Mutik-Ztilung.

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Who does not recollect, also, out of the C minor Symphony, No. V., the transition from the scherzo to the grand Finale in C major,—that gem of all instances of preparation? We have here a series of 132 bars sempre pianissimo, ten and eighty of which (pizzicato) belong to the repetition of the scherzo, and 42 (beginning with the kettledrum introduced in e and the bass in a flat) to the preparation, properly speaking, for the Finale, the crescendo of wnicn does not commence till eight bars before the C major. Here, as also to some extent in the scherzo of the Eroica, there is, among other things, a tonch of playful sarcasm and humour conveyed by the sempre piano. The whole of this long series is totally free from any accent, any light and shade; the more uniformly it is played, the more surely does it effect its purpose. Not an instrument, not a note, must dare to play a prominent part, or in any way to coquet with the hearer; we have nothing to do with the tones of flesh and blood; we have only the archly sarcastic ghosts of tones, which hop about and whirr (let the reader remember the tenor), until the soulless goings-on with the A flat of. the bass, marked pa. sinks,beneath the -dread, gloom of complex* jJghtJ. iniwkiih thtoe w no longer WiynBelMy or harmony, but simply rhythm, produced by the quiet sounds of the kettledrum, tho sole faint pulsation of all that is left of life. At length, the first violins venture to resound once again, but, I Heaven knows, sempre piano, for they are still far too frightened to be louder; they are trying to gain a view of things around, but it is not till after twenty-seven bars of timorous climbing that they take courage, and, in the last eight bars, greet, from their high position, loudly and more loudly the streaming light, which bursts forth at the C major, common time.

Finally, many passages, also, in the A major Symphony, Xo. VII., belong to this category, as well in the first movement r/rx.v, § time, as in the allegretto, j time, and then the whole repetition of the scherzo, in E major, eighty-two bars, pianissimo, altogeth devoid of light and shade, the previous sharp accent at the c mencement and in the middle being entirely dropt—floating like a recollection, a shadow.

With regard to the accentuation, we have now to speak only of those cases in which, though, it is true, dynamic as well, its principal effect is rhythmical. Here, too, the sfurzando sign is of use. Fhe sf either strengthens the ordinary accentuation of the accented part of the bar, or—which is of greater importance-— serves to create a rhythm opposed to the predominant rhythm, partly by the assistance of syncopated notes, and partly without them.

•The object of the composer is not always an alteration of tho rhythm, where the accent is placed upon the subordinate part of the bar; this kind of accentuation is often only a means of expression, as we have already seen in many examples taken from tho Eroica. For instance in the passage, page 13 :—

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cost FAN TUTTE.

The Revue et Gazette Musicalc gives the following account of Mozart's Cost fan Tutte, at the Italian Opera s—

"We ought not to scruple telling the truth in the care of great men, especially when they are dead, and we no longer run the chance of killing them with grief! It is, we are aware, the contrary method which is generally pursued; the living are tortured and the dead left unmolested, unless by persons who indulge in spiritualism, aud find amusement in conjuring up those who believed themselves buried in an everlasting sleep. Who knows? Perhaps the best way to judge Mozart would be to consult him, and, by causing his intellect to speak, to do without intellect one's self.. Alas! We are bound to confess this is a method unavailable for us. We do not possess the rare privilege of mediumisation—charming word, the grace and elegance of whioh Beem to come from the other world I Since, therefore, we are dependent on our own resources, we will speak for ourselves, and, even though the spirit of Mozart revolt at what we say, frankly assert that the great composer was guilty of a capital fault in accepting so detestable a libretto as Cosi fan Tutte. If, as we have been assured, this odious subject was presented to him by Da Ponte, who had previously given him Le AW di Figaro and Don Giovanni, there were atte

A T »r - — -•— 'iwtfc nuemiatine ciroum

stances in the case; we know the mental obligations of the and the author; ~

was severely pun every time a fb on the stage

. ions oi the composer lozart only accepted against his will; but he for what he did, and the punishment is renewed attempt is made to revive the book and the music

"OfM tt"kwas performed, for the first time, at Vienna, on the '"' '■ appears,_met with but . very moderate

16th January, 1790, and, it ,

success. Mozart had always plenty of genius, but not always plenty of money; his affairs were in a bad state, and his pecuniary difficulties increasing. The work recovered itself a trifle in England, and, for a time, enjoyed a certain vogue. In Germany, as in France, it was tolerated, but never liked. Its first production among us dates as far back as February, 1809, when it was played by the Italian company domiciled at the ^deon. In the month of November, 1820, it was revived at the Theatre Louvois, Garcia and. his wife, Naldi and his daughter (subsequently Mad. de Sparrej, Madlle. Cinti.and Pelligrini, cast it among them, and yet, despite this assembly of talented artists,

the revival met with a most mel

ever, than the catastrophe, whi< autoclave, carried away the skull o: or eight performances.

41 For forty-two years, CoA fan Tutte has slumbered, hithe, groom of oblivion. In fact, it was necessary to send to London Cor the orchestral parts, and the book—that wretched book, the cause of all the evil \ It is by perceiving the immense injury that such a rhapsody has inflicted on the music of Mozart that we can estimate the service rendered to Rossini's music by Beauui^rcljais' Bjirbiex de Sivtife., How could the poor great man, who had written immortal, eheft^CauDTe,allow himself to be blinded by a tissue of absurdities unworthy of ,the lowest booth? Con fan Tuttethat means: they all do so!. And ,hat is it that all .women, without. a^jex^p^on^do,? es' T^o^yaung fficers, Ferrando and OnL>lielrnn, are on' the point of marrying two

-f whose charms.juid fidelity on /^Afonso,, a sceptical and ';that .faith

ncholy fcte, leoa melaucholy, how under the form of a, marmitt lie uufortunatei.iialdi, after seven

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asserting that i

women do

not exist and bets the youngTrten 100 sequins that their adored ones will yield most easily. The two officers pretend they have received an order to leave the place; scarcely have' they furned their backs before two horrible strangers, Turks or Wallachiaos, decked out in monstrous moiistachios, appear and declare their Vye,, ^o, .finish the matter quickly out of hand, thesign 'to have '•wallowed some person or other, and come to expire at the feet of tthsitinhuman fair ones; The inhuman fair ones hereupon are touched, the one a little sooner than the other, and both are agreeable to fly with their admirers, when the two officers return, and the stratagem is disclosed. Fiordiligi and Dorabella, in the utmost confusion, blush up to the whites of their eyes; but they are really too considerate: why should they put themselves out of the way with two lovers who are such simpleton* as theirs are? Ferrando and Guglielmo, no longer doubting that ievery woman is an abominable traitress, can hit upon nothing better than to marry Fiordiligi and Dorabella, who, after all, are neither, better nor worse than the rest of their sex. A fine conclusion, worthy of the exordium!

"On this story, Mozart has written a score which he has interspersed with pieces of incomparable beauty; a score which is equal to hi* beat works, in numerous fragments, at least, if not on its entirety.

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knocks at (faia door of'the monastery OfNuestra Senora de los Angeles, and begs1 from the father firiot the privilege of ending her days in an adjacent hermitage, which his- been pointed ont to her by a monk, and which is situated in 'the midst of precipitous rocks. Her demand ft granted, and the whole of the community swear to preserve her Secret. IS the' third1 afct, Don AlvaVes has become' a captain of Spanish' grenadiers campajgning' itt Italy. Plunged in melancholy Reverie, he hears1 not far'from him the, clashing of swords, and flies to the' "help; of an officer' attacked by1 bandits.' He puts the latter to flight, and1 brings baiik'hV saSe'ty the grateful 6fl5feer,''wrio is'n6 ether than Don CaWos d8: Vargas:" After1 e^angih* tictWows'l'names, the preserver aW 'tte preserved swe^r raMually eternal friendship, and leave together,1 io take part in ah engagement about to be fonght with the Austriaus. ■ 1 " ''•"■ ■•'

Boon afterwards, Don Alvares, mortally wounded, is brought back upon a litter. - Don'<Sarlos'Will not quit his new friend, who entrusts to his honour a sealed packet,- asking him to swear he will burn it in ease he should die." A doubt has crossed the mini} of Don-Carlos oh receiving'the 'packet, to which a locket Is attached. To clear up tflus dbiibt, he opens the locket, and in it finds his sister's' portrait. At present*,'eertani of 'hot being mistaken, he giver Din Alvare*, who has escaped death, 'the time tb recover." He then says who'he really is, said, despite the • ptotesta'iSons' of innocence1 made by Don Alvares, obKges hfm to'draw his BWOrdV In this duel again, destiny does its Office, and lieonora's brcrfhet'falls mortally wounded. Don Alvares ffies In affright' In the fourth act, five years have elapsed. Don Alvares has come to bury his grief in the monastery of Nnestra Senora de los Angeles, where he is revered for his holiness. On the other hand, Don Carlos' has not perished from his wound. Still following up his plan of vengeance, he, in his turn, knocks at the door of the monastery, to seek out his' father*^' murderer," whose retreat he has succeeded in discovering." " •'" ", •' ,; -' :•'

; Here we have a very fine scene, which yOu may remember having witnessed''at1 the' Porte-St.'Martin, in 1836. It occurred in a drama, entitled .Oift Jitah''th Mtiratvt, by Alexandre Dumas, and was no doubt borrowed by the celebrated dramatist rVom the Spanish author.

In vain does Don Cartes overwhelm his enemy with insults; m vain does Don Alvares, now Father Raphael, manifest/ on the other hand, increased huriTOity; the forde'of destiny has not yet fulfilled its task. Ah insult' more1 terrible' than all the rest, and offered by Don Carlos in the paroiysiri of hft fury, at length'arouses in Don Alvares all his instincts as a nobleman and a soldier. In his tUrn; he seizes! with rage, the sword brought to him by his adversary, and leaves'the sacred precincts of the monastery to engage In anothercombat. This takes place "at the ve'ry foot of the hermitage inhabited by Leonora, and Don Carlos is stabbed to death before me eyes of his sister, who has run up on hearing the>noisey ;But hef wflLnotdieiwlthOMf having accomphshed, at portion of his yengeanccL At the instant Leonora, bends down to assist him, he recognises her, and, collecting all his strength, plunges his dagger in her breast. At this horrid spectacle Dun Ajyarss feels his reason deserting him. He rushes distractedly to the summit qf the rooks overhanging the hermitage, and precipitates himself down the abyss. He has done all in. his, power to turn aside this (Series of misfortunes, but everything has been compelled to yield tq.the force of destiny, VVe have said that, from time to time, comic scenes are introduced, to relieve the sombre and mournful situations. Despite of Uue,.wa, think, that tha.elqment of sadness is too predoniinaflfc. ,;It also; struck .us thjrt ,the, passion of Doa Alifares for Leonora is, not .suffipipsUy, developed* incept in the 4rat :«wt, tna heroine appears only at rare intervals,.and,thin.to fly from her lover; so that hatred; .the thirst for vengeance, and the fury occasioned by it, are the sole sentiments for three acts, brought -to- bear upon the spectator. One duel; follows another to the detriment gf all; the author should have omitted the first, which altogether weakens the highly dramatic effect of the second,; the final catastrophe would have gained considerably by such a course. Lastly, the Songs of the Pilgrims, the Chaunts of the Monks, and their processions, take up too much room in the work itself,? and too, much time in the business of the stage. For, religious ceremonies to make an impression in a theatre, they should be soberly em ployed. t.\f n-trlw .imii -n,>f■•: f.-.ti >••• i

Ttatsubjeet oi La Foria del Dtttino was, doubtless, a seductive one fovithe Mosrtnsvwhose talent is particularly partial to violent situations^ to,which it isiridebted for various great successes. Wedonot pretend, after having heard it only once, to pronounce a decided judgment on amopera of such a length;- But there is one thing that struck us at once: in the whole course of the- work, there is not a trio, a quartet, or a concerted piece. The entire opera is a succession of eavatinas, duets and choruses.! ,.■■■;> j. ,, ... <• 7 I ,. t. > •. <•: •!<.!>

An introduction of 4 few bars takes the place of an overture and precedes the rising of the curtain. The first act is filled up by a cavatina of Leonora, which is continued as a duet on the arrival of Don Alvares, and terminates in a well accentuated ttretta. It was well sung

by Mad. Barbot and Tamberlik. The second act is divided into, two lableaiavfsoenes. We noticed on the first (the interior of a " posada ") a sort of warlike brinditi: "B bella la querra," sung with much spirit by Mad. Nantier-Didier, the refrain being repeated by the chorus; and then a recital, in the form of a ballad, by Don Carlos, given with great taste by Graziani; the two artists were applauded. In the second scene, Leonora's cavatina, alternating with the matins sung in the monastery, did not, despite Of a fine phrase: "Pieta di me signore," produce much effect. In the duet Which follows with the 'Father Superior,'the Violins, muted, accbApahy in a. most felicitous manner, Mad. Barbot.'who sang the last couplet: "Etemo id'dio," with deep feeling. ' In the subsequent number, sung, as a dialogue with the chorus of monks,'by the Father'Superior (Angelini), the strain is kept Up by the viehhg, mterrnpted, from time to time, by the outbursts of the orchestra; w hieh, formulated in bold chromatic scales, imparts great breadth and majesty to the finale.

The third act commences with an air in which Tamberlik was warmly applauded; the melody is sustained by a clarionet solo, admirably executed by Cavalllni, and deserving a greater amount of notice than it received. • The air of Graziani, after he has recognised Don Alvaros in the captain of grenadiers, is terminated by an explosion of joy well expressed by the music, and excellently brought out by the artist's fine voice. In the scene of the camp, a pretty chansonnetta, sung with much brio by Mad. Nantier-Didier, was called for again. Although delivered with a great deal of spirit by Debassini, a ftu^ip air of the Brother Porter made no impression. 'Nor did the audience receive very warmly a " Rataplan," sung by Mad. Nantier-Didier, the refrain being repeated hy a chorus of soldiers, although it was given with great precision. Tamberlik and : Graziani infused great energy into the challenge which terminates the act, and which ends in Don Carlos falling dangerously wounded by his adversary. The tlretia, expressing the' regret of Don Alvares and his complaint against destiny, is very fine. • "'»'■ 1 •<•■ '.■ •"• • •' 1 1

In the fourth act, we have a buffo scene of thp Brother Porter, distributing soup to the indigent. Debassini displayed in it all his talent as ah excellent actor, and Si his dash as a no less good singer;. we may mention, also, the very remarkable duet which follows between Debassini and Angelini. Thispiece is' certainly one of the best handled numbers in the score. The contrast between the voices is turned to no less advantage by the composer in the challenge duet, between Don Alvares and Don Carlos, which is followed by the final catastrophe. Tamberlik' rendered' with consummate talent all the gradations of feeling through Tyhicfy he is made to pass by the outrages of Don . Carlos, while'Graziani was riot inferior to him in the contest, where his fnagnificeh't organ did hirq such good service. II is a fine morcatu. The second scene ofthis act contains nothing but an air for Leonora.

The artists','who, as'ydu have seen, were the etitt of the Company, were, as a rule', called ot\ after each of their airs. Verdi was led on the stage' by them every time, and, at the fall of the curtain, had to appear repeatedly again1; being th'eii more warmly applauded than during the course of the work, when aJ certain opposition was manifested against the recalls.

You know how 'luxuriously things are done by the management of the' Imperial Theatre, 'which/ was riot untrue to its custom on the present occasion. The'"gettlijg-up'' and' costumes are splendid; the , scenery magnificent. The audience noticed especially the scene representingIn the second act the exterior of the monastery of Nuestra Senora deloE Angeles, by moonlight; that representing, in the third act, the Spanish camp, and, above all, that, in the fourth act, of the interior of the monastery chapel, with a very fine sunlight effect, The tempest which accompanies the last'scene, the wind, the rain, and the lightning, do honor to the talents of the machinist and scenic artisti MM. Roller

andwagtaer:';:;.; 'r":::\'. .,.,,.. J,a

Bsiohtoh.—M. Edouard de Paris' annual concert took place at the Pavilion, in presence of a crowded audience. Most of the performers were established favourites. Mdlle. Parcpa sang as charmingly as ever, and was loudly enooredi in "Scones that are brightest," from Maritana. Mdme. Rudersdorff, who sang with her Usual care and skill, was encored in ''She wore;* wrfeath of roses." Herr Reiehardt, in whose" stylo there is an earnestness which never fails to impress, was encored in a very sweet oradle song entitled " Good night," for which he' substituted*'Thou art'so near and yet so far," both h& owncompositioiis Mrs. G. Vining—better known to Brighton as Miss Caslleton, a very pleasing actress' at our theatre'some few years ago—made her first appearance as a singer on this occasion, giving "11 mio figlio," from Le J'roohiU, and l'Addio" of Sohubert. Herr Einni, the bass, sang an air from La Trauiaia, and the barcarole, "Sulla poppa." Mr. Aptommas played admirably on the harp; and M. de Paris performed with his accustomed skiLL—2?r^A&n Hwali. ■:-. «i a- m ': .•

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