Education & Arkansas Symphony Orchestra (501) 666-1761    |   info@ArkansasSymphony.org2417 N Tyler StLittle Rock, AR 72207.

The music proceeds in a mixture of innocence and unpredictability. Franz Schubert quoted from the movement in the second movement of his Grand Duo for piano.[3]. Bars 1-9: First Subject in A major (tonic). The rhythm of it is identical with that of Part I. Repetitions of the development and recapitulation are unusual, although they will be found in Op. Die überschäumend positive Aussage der Sinfonie könnte eventuell damit erklärt werden, dass Beethoven die Hoffnung hatte, geheilt zu werden. There are clear indications of the influence of folk music and the pastoral, presaging his Symphony No. His books are available at the Symphony Store in Davies Symphony Hall. Box Office: Grove Street, between Van Ness and Franklin, CURRENTSEXPLORE THE INTERSECTIONS BETWEEN CLASSICAL MUSIC AND VARIED MUSICAL CULTURES. We would then have heard a symphony of proportions something like those of one by Haydn, with third and fourth movements far briefer than the first and second. All Rights Reserved. It principally refers to fragments of the first subject (Bars 5-9); the second subject is entirely ignored. 36 und leitete selbst die Uraufführung im Rahmen seiner Akademie am 5. DIED: March 26, 1827. dergl.). Beethoven: Piano Sonata No.2 in A major Analysis, » Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, » Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, » Haydn: Cello Concerto No.2 in D major Accompaniment, » Haydn: Cello Concerto No.1 in C major Accompaniment, » Mozart: Clarinet Concerto in A major K.622 Accompaniment, » Mozart: Flute Concerto No.2 in D major K.314 Accompaniment, Chopin: Ballade No.1 in G minor Op.23 Analysis, Chopin: Ballade No.2 in F major Op.38 Analysis, Chopin: Ballade No.3 in Ab Major Op.47 Analysis, Chopin: Scherzo No.3 in C# Minor Op.39 Analysis, Chopin: Scherzo No.2 in Bb minor Op.31 Analysis, Chopin: Scherzo No.1 in B Minor Op.20 Analysis, Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, Haydn: Cello Concerto No.2 in D major Accompaniment, Haydn: Cello Concerto No.1 in C major Accompaniment, Mozart: Clarinet Concerto in A major K.622 Accompaniment. The work was premiered in the Theater an der Wien in Vienna on April 5, 1803, and was conducted by the composer. Beethoven’s two Romances for violin and orchestra date from the first years of the nineteenth century. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. Satzes von Mozarts Haffner-Sinfonie. SFS PERFORMANCES: FIRST—February 1916. Satz vermittelt (für Beethovens Verhältnisse erstaunlich ungebrochen und einmütig) Lebensfreude und Euphorie.

Learn More. Ludwig van Beethoven komponierte 1801/02 seine 2.

The first movement was usually in Sonata Form, consisting of three … The second subject commences with a phrase in E major, Bars 26-28, which is immediately repeated (varied) twice. Bars 57-101: Third subject in A minor. This movement, Larghetto, is in the dominant key of A major and is one of Beethoven's longest symphonic slow movements. Der Beethoven-Forscher Armin Raab nennt für die Erstellung von Skizzen die Zeit zwischen Sommer 1800 und Februar 1802.

© 2020 - Arkansas Symphony Orchestra. Bars 1-33: First Subject in A major (tonic). One critic commented that “the First Symphony is better than the later one because it is developed with lightness and is less forced, while in the Second the striving for the new and surprising is already more apparent.” But however he assessed it, the reviewer was not wrong in noting a world of difference between the Second Symphony and the C major of 1799–1800. Each week, thousands of San Francisco Symphony concert-goers open their programs to read about the drama, the passion, and the inspiration behind the music they’re hearing. Copyright © Tonic Chord. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted.

I saw almost nothing but empty leaves at the most on one page and on another a few Egyptian hieroglyphs wholly unintelligible to me and scribbled down to serve as clues for him.   The scherzo and the finale are filled with Beethovenian musical jokes, which shocked the sensibilities of many contemporary critics. Become an ASO Insider today - click to join! However they can be found on my analysis blog here:https://lvbandmore.blogspot.com/p/color-analysis-beethoven-symphiny-1.htmlFor a more detailed analysis with live performance, check out this link:http://lvbandmore.blogspot.com/p/symphonies-1-through-5-analyzed.htmlFor more videos of this type see: Color-Coded Analysis of Beethoven's Music (INDEX):http://lvbandmore.blogspot.com/p/color-coded-analysis-of-beethovens-music.htmlIntroduction to Sonata Form:http://lvbandmore.blogspot.com/p/about-sonata-form-and-analysis.htmlArrangement for Electric Rock Band:http://www.youtube.com/watch?v=TW4Z64QADGUMy Analysis Cheat Sheet:-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. Sinfonie in D-Dur, op. Das knappe Scherzo wirkt insbesondere durch dynamische und instrumentale Kontraste. Community, The Second Symphony was compared, not to its advantage, with the already popular First. Der Satz ist ein langsamer, aber tänzerischer Satz (menuettartig). Compare Bars 87-88=91-92 with Bars 311-312=315-316. Bars 136-149: First Subject (varied) in original key. The Introduction, Adagio molto, begins in D major, changing to B♭ major in measure 11. Larghetto (A major) @9:30III.

According to Greenberg: Beethoven's gastric problems, particularly in times of great stress – like the fall of 1802 – were legendary. Möglicherweise gab es bis zur Veröffentlichung noch eine Umarbeitung. Geoffrey Robson - Interim Artistic Director, Arkansas Symphony Orchestra Community Orchestra. 9 (d-Moll) op.

Allegro molto @23:12 Conducted by Rene Leibowitz / Royal PhilharmonicUpdate: The Annotations feature has been discontinued on the YouTube platform so the section labels unfortunately no longer appear.   Toward the centre, a few emotional clouds cross the sky. It commences in A minor and modulates to C, in which key there is a full close, bar 66 (double bar and repeat from Bar 57), this is followed by a passage (in imitation, Bars 68-72) ending in E major, Bar 75. Sinfonie in A-Dur op. The Coda is formed from previous material. Sinfonie und ihre Entstehung als ein wichtiges Zeugnis für die inneren Kämpfe Beethovens gewertet. Bars 21-56: First Subject (varied) in original key.

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Education & Arkansas Symphony Orchestra (501) 666-1761    |   info@ArkansasSymphony.org2417 N Tyler StLittle Rock, AR 72207.

The music proceeds in a mixture of innocence and unpredictability. Franz Schubert quoted from the movement in the second movement of his Grand Duo for piano.[3]. Bars 1-9: First Subject in A major (tonic). The rhythm of it is identical with that of Part I. Repetitions of the development and recapitulation are unusual, although they will be found in Op. Die überschäumend positive Aussage der Sinfonie könnte eventuell damit erklärt werden, dass Beethoven die Hoffnung hatte, geheilt zu werden. There are clear indications of the influence of folk music and the pastoral, presaging his Symphony No. His books are available at the Symphony Store in Davies Symphony Hall. Box Office: Grove Street, between Van Ness and Franklin, CURRENTSEXPLORE THE INTERSECTIONS BETWEEN CLASSICAL MUSIC AND VARIED MUSICAL CULTURES. We would then have heard a symphony of proportions something like those of one by Haydn, with third and fourth movements far briefer than the first and second. All Rights Reserved. It principally refers to fragments of the first subject (Bars 5-9); the second subject is entirely ignored. 36 und leitete selbst die Uraufführung im Rahmen seiner Akademie am 5. DIED: March 26, 1827. dergl.). Beethoven: Piano Sonata No.2 in A major Analysis, » Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, » Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, » Haydn: Cello Concerto No.2 in D major Accompaniment, » Haydn: Cello Concerto No.1 in C major Accompaniment, » Mozart: Clarinet Concerto in A major K.622 Accompaniment, » Mozart: Flute Concerto No.2 in D major K.314 Accompaniment, Chopin: Ballade No.1 in G minor Op.23 Analysis, Chopin: Ballade No.2 in F major Op.38 Analysis, Chopin: Ballade No.3 in Ab Major Op.47 Analysis, Chopin: Scherzo No.3 in C# Minor Op.39 Analysis, Chopin: Scherzo No.2 in Bb minor Op.31 Analysis, Chopin: Scherzo No.1 in B Minor Op.20 Analysis, Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, Haydn: Cello Concerto No.2 in D major Accompaniment, Haydn: Cello Concerto No.1 in C major Accompaniment, Mozart: Clarinet Concerto in A major K.622 Accompaniment. The work was premiered in the Theater an der Wien in Vienna on April 5, 1803, and was conducted by the composer. Beethoven’s two Romances for violin and orchestra date from the first years of the nineteenth century. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. Satzes von Mozarts Haffner-Sinfonie. SFS PERFORMANCES: FIRST—February 1916. Satz vermittelt (für Beethovens Verhältnisse erstaunlich ungebrochen und einmütig) Lebensfreude und Euphorie.

Learn More. Ludwig van Beethoven komponierte 1801/02 seine 2.

The first movement was usually in Sonata Form, consisting of three … The second subject commences with a phrase in E major, Bars 26-28, which is immediately repeated (varied) twice. Bars 57-101: Third subject in A minor. This movement, Larghetto, is in the dominant key of A major and is one of Beethoven's longest symphonic slow movements. Der Beethoven-Forscher Armin Raab nennt für die Erstellung von Skizzen die Zeit zwischen Sommer 1800 und Februar 1802.

© 2020 - Arkansas Symphony Orchestra. Bars 1-33: First Subject in A major (tonic). One critic commented that “the First Symphony is better than the later one because it is developed with lightness and is less forced, while in the Second the striving for the new and surprising is already more apparent.” But however he assessed it, the reviewer was not wrong in noting a world of difference between the Second Symphony and the C major of 1799–1800. Each week, thousands of San Francisco Symphony concert-goers open their programs to read about the drama, the passion, and the inspiration behind the music they’re hearing. Copyright © Tonic Chord. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted.

I saw almost nothing but empty leaves at the most on one page and on another a few Egyptian hieroglyphs wholly unintelligible to me and scribbled down to serve as clues for him.   The scherzo and the finale are filled with Beethovenian musical jokes, which shocked the sensibilities of many contemporary critics. Become an ASO Insider today - click to join! However they can be found on my analysis blog here:https://lvbandmore.blogspot.com/p/color-analysis-beethoven-symphiny-1.htmlFor a more detailed analysis with live performance, check out this link:http://lvbandmore.blogspot.com/p/symphonies-1-through-5-analyzed.htmlFor more videos of this type see: Color-Coded Analysis of Beethoven's Music (INDEX):http://lvbandmore.blogspot.com/p/color-coded-analysis-of-beethovens-music.htmlIntroduction to Sonata Form:http://lvbandmore.blogspot.com/p/about-sonata-form-and-analysis.htmlArrangement for Electric Rock Band:http://www.youtube.com/watch?v=TW4Z64QADGUMy Analysis Cheat Sheet:-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. Sinfonie in D-Dur, op. Das knappe Scherzo wirkt insbesondere durch dynamische und instrumentale Kontraste. Community, The Second Symphony was compared, not to its advantage, with the already popular First. Der Satz ist ein langsamer, aber tänzerischer Satz (menuettartig). Compare Bars 87-88=91-92 with Bars 311-312=315-316. Bars 136-149: First Subject (varied) in original key. The Introduction, Adagio molto, begins in D major, changing to B♭ major in measure 11. Larghetto (A major) @9:30III.

According to Greenberg: Beethoven's gastric problems, particularly in times of great stress – like the fall of 1802 – were legendary. Möglicherweise gab es bis zur Veröffentlichung noch eine Umarbeitung. Geoffrey Robson - Interim Artistic Director, Arkansas Symphony Orchestra Community Orchestra. 9 (d-Moll) op.

Allegro molto @23:12 Conducted by Rene Leibowitz / Royal PhilharmonicUpdate: The Annotations feature has been discontinued on the YouTube platform so the section labels unfortunately no longer appear.   Toward the centre, a few emotional clouds cross the sky. It commences in A minor and modulates to C, in which key there is a full close, bar 66 (double bar and repeat from Bar 57), this is followed by a passage (in imitation, Bars 68-72) ending in E major, Bar 75. Sinfonie in A-Dur op. The Coda is formed from previous material. Sinfonie und ihre Entstehung als ein wichtiges Zeugnis für die inneren Kämpfe Beethovens gewertet. Bars 21-56: First Subject (varied) in original key.

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60 | He played nearly all of the solo part from memory since, as was so often the case, he had not had time to put it all down on paper. Beethoven komponiert hier also weder zwei kontrastierende Themen, noch wenigstens zwei klar diskrete Varianten eines Hauptgedankens, sondern eher einen „weichen Übergang“ von prologisierenden assoziativeren Varianten einer Themengestalt hin zu ihrer Urgestalt, und epilogisierend wieder zurück (zu den Wiederholungszeichen). DURATION: About 34 mins Michael Steinberg, the San Francisco Symphony’s Program Annotator from 1979 to 1999 and a contributing writer to our program book until his death in 2009, was one of the nation’s pre-eminent writers on music. The second subject commences in B minor, modulating to F sharp minor, Bar 23, in which key the three first bars are repeated in a varied form, succeeded, at Bar 26, by another variation of the same material in G major, which ends in D major, Bar 32, overlapping the entry of the first subject. In the First Symphony, the composer still called his very fast one‑in‑a‑bar third movement a minuet; here he admits for the first time in a symphony that he is writing a scherzo, actually using that word in his tempo/character designation. The mood becomes slightly troubled but never seriously so, and not for long. Diese Seite wurde zuletzt am 10. Bars 149-End: Coda. Their origins remain obscure. Bars 50-End: Coda. Musicologist and composer Bryan Townsend refers to this assertion by Greenberg as "an example of musicological overreach". Alfred Hertz conducted. 1. The second subject re-appears transposed to begin in the tonic minor and end in the tonic major; it is only very slightly altered. He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper which we ate afterwards.” Well might it have been a jovial supper. It is also laid out on a broad scale, something we might not immediately notice because of the very quick tempo. Beethoven's Second Symphony was mostly written during Beethoven's stay at Heiligenstadt in 1802, at which time his deafness was becoming more apparent and he began to realize that it might be incurable. Bars 116-124: Episode. Bars 68-80 the recur, the last two bars, however, Bars 79-80, are altered, Bars 92-93, to end on the dominant. Beethoven - Symphony 2, Op.36 (Color-Coded Analysis) - YouTube The Symphony No. Adagio molto – Allegro con brio (D major), "The Music Salon: Beethoven: Symphony No. There is a transition from 229–244, bringing back the B theme at measure 245, this time in the tonic key.

Education & Arkansas Symphony Orchestra (501) 666-1761    |   info@ArkansasSymphony.org2417 N Tyler StLittle Rock, AR 72207.

The music proceeds in a mixture of innocence and unpredictability. Franz Schubert quoted from the movement in the second movement of his Grand Duo for piano.[3]. Bars 1-9: First Subject in A major (tonic). The rhythm of it is identical with that of Part I. Repetitions of the development and recapitulation are unusual, although they will be found in Op. Die überschäumend positive Aussage der Sinfonie könnte eventuell damit erklärt werden, dass Beethoven die Hoffnung hatte, geheilt zu werden. There are clear indications of the influence of folk music and the pastoral, presaging his Symphony No. His books are available at the Symphony Store in Davies Symphony Hall. Box Office: Grove Street, between Van Ness and Franklin, CURRENTSEXPLORE THE INTERSECTIONS BETWEEN CLASSICAL MUSIC AND VARIED MUSICAL CULTURES. We would then have heard a symphony of proportions something like those of one by Haydn, with third and fourth movements far briefer than the first and second. All Rights Reserved. It principally refers to fragments of the first subject (Bars 5-9); the second subject is entirely ignored. 36 und leitete selbst die Uraufführung im Rahmen seiner Akademie am 5. DIED: March 26, 1827. dergl.). Beethoven: Piano Sonata No.2 in A major Analysis, » Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, » Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, » Haydn: Cello Concerto No.2 in D major Accompaniment, » Haydn: Cello Concerto No.1 in C major Accompaniment, » Mozart: Clarinet Concerto in A major K.622 Accompaniment, » Mozart: Flute Concerto No.2 in D major K.314 Accompaniment, Chopin: Ballade No.1 in G minor Op.23 Analysis, Chopin: Ballade No.2 in F major Op.38 Analysis, Chopin: Ballade No.3 in Ab Major Op.47 Analysis, Chopin: Scherzo No.3 in C# Minor Op.39 Analysis, Chopin: Scherzo No.2 in Bb minor Op.31 Analysis, Chopin: Scherzo No.1 in B Minor Op.20 Analysis, Strauss: Horn Concerto No.1 in Eb Major Op.11 Accompaniment, Haydn: Trumpet Concerto in Eb Major, Hob.VIIe:1 Accompaniment, Haydn: Cello Concerto No.2 in D major Accompaniment, Haydn: Cello Concerto No.1 in C major Accompaniment, Mozart: Clarinet Concerto in A major K.622 Accompaniment. The work was premiered in the Theater an der Wien in Vienna on April 5, 1803, and was conducted by the composer. Beethoven’s two Romances for violin and orchestra date from the first years of the nineteenth century. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. Satzes von Mozarts Haffner-Sinfonie. SFS PERFORMANCES: FIRST—February 1916. Satz vermittelt (für Beethovens Verhältnisse erstaunlich ungebrochen und einmütig) Lebensfreude und Euphorie.

Learn More. Ludwig van Beethoven komponierte 1801/02 seine 2.

The first movement was usually in Sonata Form, consisting of three … The second subject commences with a phrase in E major, Bars 26-28, which is immediately repeated (varied) twice. Bars 57-101: Third subject in A minor. This movement, Larghetto, is in the dominant key of A major and is one of Beethoven's longest symphonic slow movements. Der Beethoven-Forscher Armin Raab nennt für die Erstellung von Skizzen die Zeit zwischen Sommer 1800 und Februar 1802.

© 2020 - Arkansas Symphony Orchestra. Bars 1-33: First Subject in A major (tonic). One critic commented that “the First Symphony is better than the later one because it is developed with lightness and is less forced, while in the Second the striving for the new and surprising is already more apparent.” But however he assessed it, the reviewer was not wrong in noting a world of difference between the Second Symphony and the C major of 1799–1800. Each week, thousands of San Francisco Symphony concert-goers open their programs to read about the drama, the passion, and the inspiration behind the music they’re hearing. Copyright © Tonic Chord. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted.

I saw almost nothing but empty leaves at the most on one page and on another a few Egyptian hieroglyphs wholly unintelligible to me and scribbled down to serve as clues for him.   The scherzo and the finale are filled with Beethovenian musical jokes, which shocked the sensibilities of many contemporary critics. Become an ASO Insider today - click to join! However they can be found on my analysis blog here:https://lvbandmore.blogspot.com/p/color-analysis-beethoven-symphiny-1.htmlFor a more detailed analysis with live performance, check out this link:http://lvbandmore.blogspot.com/p/symphonies-1-through-5-analyzed.htmlFor more videos of this type see: Color-Coded Analysis of Beethoven's Music (INDEX):http://lvbandmore.blogspot.com/p/color-coded-analysis-of-beethovens-music.htmlIntroduction to Sonata Form:http://lvbandmore.blogspot.com/p/about-sonata-form-and-analysis.htmlArrangement for Electric Rock Band:http://www.youtube.com/watch?v=TW4Z64QADGUMy Analysis Cheat Sheet:-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. Sinfonie in D-Dur, op. Das knappe Scherzo wirkt insbesondere durch dynamische und instrumentale Kontraste. Community, The Second Symphony was compared, not to its advantage, with the already popular First. Der Satz ist ein langsamer, aber tänzerischer Satz (menuettartig). Compare Bars 87-88=91-92 with Bars 311-312=315-316. Bars 136-149: First Subject (varied) in original key. The Introduction, Adagio molto, begins in D major, changing to B♭ major in measure 11. Larghetto (A major) @9:30III.

According to Greenberg: Beethoven's gastric problems, particularly in times of great stress – like the fall of 1802 – were legendary. Möglicherweise gab es bis zur Veröffentlichung noch eine Umarbeitung. Geoffrey Robson - Interim Artistic Director, Arkansas Symphony Orchestra Community Orchestra. 9 (d-Moll) op.

Allegro molto @23:12 Conducted by Rene Leibowitz / Royal PhilharmonicUpdate: The Annotations feature has been discontinued on the YouTube platform so the section labels unfortunately no longer appear.   Toward the centre, a few emotional clouds cross the sky. It commences in A minor and modulates to C, in which key there is a full close, bar 66 (double bar and repeat from Bar 57), this is followed by a passage (in imitation, Bars 68-72) ending in E major, Bar 75. Sinfonie in A-Dur op. The Coda is formed from previous material. Sinfonie und ihre Entstehung als ein wichtiges Zeugnis für die inneren Kämpfe Beethovens gewertet. Bars 21-56: First Subject (varied) in original key.

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