LouisLee

Montserrat Figueras - "Alma, buscarte has en Mí"

http://www.youtube.com/watch?v=fQcenVpWA84&hd=1



Letra: Poema de Sta. Teresa de Jesús
(Teresa de Cepeda y Ahumada, 1515-1582)

Música: Moxica (Cancionero Musical de Palacio) s.XV-XVI

* * * * * * * * * * *

St. Teresa of Avila

Soul, thou must seek thyself in Me
And thou must seek for Me in thee.

Such is the power of love's impress,
O soul, to grave thee on My heart,
That any craftsman must confess
He ne'er could have the like success,
Howe'er superlative his art.

It was by love that thou wert made
Lovely and beautiful to be;
So, if perchance thou shouldst have stray'd,
Upon My heart thou art portray'd.

For well I know that thou wilt see
Thyself engraven on My breast
An image vividly impressed
And then thou wilt rejoice to be
So safely lodg'd, so highly blest.

And if perchance thou knowest not
Whither to go in quest of Me,
Go not abroad My face to see,
Roaming about from spot to spot,

For, soul, in thee I am confin'd,
Thou art My dwelling and My home;
And if one day I chance to find
Fast-clos'd the portals of thy mind
I ask for entrance when I come.

Oh, seek not for Me far away,
For, if thou wilt attain to Me,
Thou needest but My name to say
And I am there without delay.

LouisLee

¤T®úÀô(¥Õ¥ú¡B§õ­»ÄõªºÁn¼Ö¦Ñ®v)¡@US録­µ¡uある´¸れた¤éに¡vTamaki Miura "Un bel dì vedremo"

http://www.youtube.com/watch?v=SQdE03s_gJw&fmt=18


http://zh.wikipedia.org/zh-tw/%E4%B8%89%E6%B5%A6%E7%8E%AF

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LouisLee

My Yiddishe Mama by Yosef Rosenblatt

http://www.youtube.com/watch?v=ZWWc7vBnSP0&fmt=18

Cantor Yossale Rosenblatt - Yivarech et Beit Israel - Psalm 115

http://www.youtube.com/watch?v=WQ8dYrbAIZA&fmt=18

Yosef "Yossele" Rosenblatt (1882-1933) is generally considered to be the uncrowned king of cantorial music. People often refer to him just as "Yossele," a Yiddish diminutive of Josef.

Yossele was born in 1882 in the Ukrainian shtetl [small village] Belaya Tserkov--the first boy in the family after nine girls.His father, a Ruzhiner Hasid who frequented the court of the Sadagora Rebbe, was himself a hazzan. Recognizing his young son's extraordinary talent, Yossele's father began to tour with his son to help supplement the family income. The father would daven [pray] as the hazzan, but it was the child prodigy, Yossele, whom the crowds came to hear.There is a famous joke about a Cantor who calls himself the Third Yossele Rosenblatt... When he's asked who the Second Yossele Roseblatt might be, in great offense he retorts, "There could be no Second Yossele Rosenblatt!"

Rosenblatt's greatest hit was his recording of "Shir Hama'alot," Psalm 126, to a tune composed by Minkowsky. This psalm is said on festive occasions, just before the "Grace after Meals." This cheerful melody became so popular, that soon it was considered to be the traditional tune for this psalm. When the State of Israel was looking for a suitable National Anthem, Rosenblatt's "Shir Hama'alot" was proposed as a serious candidate.

....."Now a celebrity, Rosenblatt was in demand everywhere. Appearing just a few weeks later on the steps of The New York Public Library for the War Savings Stamp Campaign, he sang "The Star Spangled Banner," followed by "Keili, Keili," at the conclusion of which Enrico Caruso, the great star of the opera, stepped forward and kissed him."

In his foreword to this book, Rosenblatt wrote about his own recitatives:
"In producing them I was moved by the double impulse of serving the needs of the Jewish Cantor and of demonstrating to the musical world at large that genuine Jewish Chazanuth can still satisfy completely even the refined taste of today. ...I shall feel amply rewarded for my efforts when I shall see this work widely disseminated."

David Chevan produced a very interesting CD called " Days of Awe : Meditations for Selichot, Rosh Hashanah and Yom Kippur." It is a collection of instrumental interpretations of Rosenblatt's compositions for the High Holidays. As such it is one of the finest "Jewish-Jazz" recordings, and a great Jazz instrumental anyway.

"I came to Rosenblatt years ago when I became interested in Hazzanut, which is the art of Jewish cantorial singing.
Rosenblatt had an incredible voice and really understood this art form. His krechts, or sobbing sounds, are profoundly emotional and his phrasing is equally moving. It occurred to me that I needed to learn more about him, so I began transcribing his recordings and learning more about the nuances of his singing style, especially his phrasing," explains bassist Chevan, who teaches at Southern Connecticut State University.

"The cantorial art of Hazzanut is a highly improvisatory process that reminds me of jazz improvisation. I hear and have found much more spontaneity in the singing of cantors than in most Klezmer music (which, incidentally is often called -- and I believe incorrectly so -- Jewish jazz)," he says, noting that he chose to transcribe Rosenblatt's renditions of High Holy Day prayers for several reasons.

"First, because of his incredible sense of melody. These pieces are infused with wonderful and emotionally powerful melodies. Second, because he was one of the greatest recorded masters of Hazzanut. His singing and improvisations are filled with nuances that are rivaled by only a few other cantors," notes Chevan. "Thirdly, his compositions are compelling. Each of the pieces I transcribed was like a miniature oratorio. In each of the pieces there were at least two or more complete music sections that might contain moments of operatic recitative, snippets of folk melodies, and large sections of improvised Hazzanut. When I transcribed and then arranged these for my band to perform the music came alive in fresh new ways that got me excited. I could hear and feel the spirit of the High Holy Days, the Days of Awe, in a new and meaningful way."

"As I was transcribing the various pieces I began to find certain places and patterns in Rosenblatt's choices as to when he would be in tempered pitch and when he used quarter-tones. I don't even know if he was aware that he was making quarter-tones as much as creating certain emphases that were attached as much to the text as anything else. I get the sense that he was very aware that the "out-of-pitch" notes created a certain drama that the congregation would have felt as supplication. In contrast there are sections, especially when he is singing more in the Yiddish song/freilakh style (strident and martial at times) that he is right on the money and everything is in more or less tempered pitch...

LouisLee

Casta Diva (Bellini's Norma) by Marian Anderson

Studio Version

http://www.youtube.com/watch?v=4aF33C5b5p8&hd=1

Live Version

http://www.youtube.com/watch?v=xPGEiWAPm1M

Rosa Ponselle sings Casta Diva

http://www.youtube.com/watch?v=isoGu7utEBI&hd=1

Casta Diva - Claudia Muzio

http://www.youtube.com/watch?v=jJZH0WLHAuE&hd=1

Casta Diva - Gina Cigna

http://www.youtube.com/watch?v=WGwpSqoFkA4&hd=1

Ebe Stignani Sings Casta Diva



http://www.youtube.com/watch?v=issgvna6Qos&hd=1

Anita Cerquetti sings "Casta Diva" from Bellini's Norma

1956 Studio Version

http://www.youtube.com/watch?v=8ARjhaZ5NN8&hd=1


1958 Live Version

http://www.youtube.com/watch?v=m4QZ0Vz-YHU&hd=1


Casta Diva -- Maria Callas

http://www.youtube.com/watch?v=MBW5a77wINQ&hd=1

LouisLee

¤Þ¥Î:

­ì©«¥Ñ ªêºa ©ó 7-1-2011 02:18 µoªí ¬üÁn¡]Bel Canto)   ¬üÁn¡]Bel Canto)¦b·N¤j§Q¤åªº·N«ä¬O¦pºqªº¤@¯ë®®¦Õ°ÊÅ¥ªº·N«ä¡D¬üÁnºq¤â«hªx«ü¨ã³Æ¤@¨Ç¯S©w¬üÁn§Þ¥©ªººq°Û®a¡A¨º»ò¦ó¿×¬üÁn§Þ¥©¡H¬üÁn´N¬O³z¹L¾A·í¦³¨t²ÎªºÁn¼Ö°V½m¡A±NÁn­µ°ª«×¶°¤¤¤Î±± ...

ªêºa­ô¤£·\¬°ºq¼@±M®a, §Ú±N M. Anderson ±ÆÀY, ³£«Yı±o Youtube Ëݦhª©¥»«YÊ\°Û±o³Ì¦³¨ý¹D, ¦Ü©ó youtube ¼Ó¥D»{¬° the best 嘅 callas ª©, §Ú¤Ï¦Óı±o¤£¥~¦p¬O, ©Ò¥H±Æ§À¡C

 

¥t¥~ݯ¨ì­Ó¥úºü¦~ª©, Patti ·í®É¤w¸g 63 ·³:

 

Casta diva - Adelina Patti, 1906

 

http://www.youtube.com/watch?v=kl02WT4KLvc&hd=1

LouisLee

Marian Anderson - Ave Maria (Schubert) 1939

http://www.youtube.com/watch?v=WfHAa1jK1mU&hd=1

LouisLee

¥t¤@¥úºü¦~ª©:

 

Lilli Lehmann - Casta Diva 1907

 

http://www.youtube.com/watch?v=3NUyCMF67jc&hd=1

LouisLee

Chopin Mazurka Op 56 No 2 - Landowska Rec 1951

 

http://www.youtube.com/watch?v=6_LuxbNw89Y&hd=1

 

¥Î harpsicord ¼u¿½¨¹, ¯u«Y«eµL¥j¤H, «áµL¨ÓªÌ¡I¡I¡I

LouisLee

Gustav Mahler "Lieder eines fahrenden Gesellen (Songs of a Wayfarer)" - Hermann Schey

"Wenn mein Schatz Hochzeit macht"

http://www.youtube.com/watch?v=cydzHleU2iw&hd=1

 

 

The first movement is entitled "Wenn mein Schatz Hochzeit macht" ("When My Sweetheart is Married"), and the text discusses the Wayfarer's grief at losing his love to another. He remarks on the beauty of the surrounding world, but how that cannot keep him from having sad dreams. The orchestral texture is bittersweet, using double reed instruments, clarinets and strings.

 

Original German Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab' ich meinen traurigen Tag! Geh' ich in mein Kämmerlein, Dunkles Kämmerlein, Weine, wein' um meinen Schatz, Um meinen lieben Schatz! Blümlein blau! Verdorre nicht! Vöglein süß! Du singst auf grüner Heide. Ach, wie ist die Welt so schön! Ziküth! Ziküth! Singet nicht! Blühet nicht! Lenz ist ja vorbei! Alles Singen ist nun aus! Des Abends, wenn ich schlafen geh', Denk'ich an mein Leide! An mein Leide!

In English When my darling has her wedding-day, her joyous wedding-day, I will have my day of mourning! I will go to my little room, my dark little room, and weep, weep for my darling, for my dear darling! Blue flower! Do not wither! Sweet little bird you sing on the green heath! Alas, how can the world be so fair? Chirp! Chirp! Do not sing; do not bloom! Spring is over. All singing must now be done. At night when I go to sleep, I think of my sorrow, of my sorrow!

"Ging heut`morgen übers Feld"

http://www.youtube.com/watch?v=aAYzf_PEn0g&hd=1

 

 

 

 

The second movement, "Ging heut Morgen übers Feld" ("I Went This Morning over the Field"), is the happiest movement of the work. Indeed, it is a song of joy and wonder at the beauty of nature in simple actions like birdsong and dew on the grass. "Is it not a lovely world?" is a refrain. However, the Wayfarer is reminded at the end that despite this beauty, his happiness will not blossom anymore now that his love is gone. This movement is orchestrated delicately, making use of high strings and flutes, as well as a fair amount of triangle. The melody of this movement, as well as much of the orchestration, is developed into the 'A' theme of the first movement of the First Symphony.

 

Original German Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust'ge Fink: "Ei du! Gelt? Guten Morgen! Ei gelt? Du! Wird's nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!" Auch die Glockenblum' am Feld Hat mir lustig, guter Ding', Mit den Glöckchen, klinge, kling, Ihren Morgengruß geschellt: "Wird's nicht eine schöne Welt? Kling, kling! Schönes Ding! Wie mir doch die Welt gefällt! Heia!" Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Sonnenschein! Blum' und Vogel, groß und Klein! "Guten Tag, ist's nicht eine schöne Welt? Ei du, gelt? Schöne Welt!" Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein', Mir nimmer blühen kann!

In English I walked across the fields this morning; dew still hung on every blade of grass. The merry finch spoke to me: "Hey! Isn't it? Good morning! Isn't it? You! Isn't it becoming a fine world? Chirp! Chirp! Fair and sharp! How the world delights me!" Also, the bluebells in the field merrily with good spirits tolled out to me with bells (ding, ding) their morning greeting: "Isn't it becoming a fine world? Ding, ding! Fair thing! How the world delights me!" And then, in the sunshine, the world suddenly began to glitter; everything gained sound and color in the sunshine! Flower and bird, great and small! "Good day, Is it not a fine world? Hey, isn't it? A fair world?" Now will my happiness also begin? No, no - the happiness I mean can never bloom!

"Ich hab`ein glühend Messer"

http://www.youtube.com/watch?v=N9tIHwYYUNI&hd=1

The third movement is a full display of despair. Entitled "Ich hab'ein glühend Messer" ("I Have a Gleaming Knife"), the Wayfarer likens his agony of lost love to having an actual metal blade piercing his heart. He obsesses to the point where everything in the environment reminds him of some aspect of his love, and he wishes he actually had the knife. The music is intense and driving, fitting to the agonized nature of the Wayfarer's obsession.

 

Original German Ich hab'ein glühend Messer, Ein Messer in meiner Brust, O weh! Das schneid't so tief in jede Freud' und jede Lust. Ach, was ist das für ein böser Gast! Nimmer hält er Ruh', nimmer hält er Rast, Nicht bei Tag, noch bei Nacht, wenn ich schlief! O weh! Wenn ich den Himmel seh', Seh'ich zwei blaue Augen stehn! O weh! Wenn ich im gelben Felde geh', Seh'ich von fern das blonde Haar Im Winde weh'n! O weh! Wenn ich aus dem Traum auffahr' Und höre klingen ihr silbern Lachen, O weh! Ich wollt', ich läg auf der Schwarzen Bahr', Könnt' nimmer die Augen aufmachen!

In English I have a red-hot knife, a knife in my breast. O woe! It cuts so deeply into every joy and delight. Alas, what an evil guest it is! Never does it rest, never does it relax, not by day, not by night, when I would sleep. O woe! When I gaze up into the sky, I see two blue eyes there. O woe! When I walk in the yellow field, I see from afar her blond hair waving in the wind. O woe! When I start from a dream and hear the tinkle of her silvery laugh, O woe! I wish I could lay down on my black bier - Would that my eyes never open again!

"Die zwei blauen Augen"

http://www.youtube.com/watch?v=kNnosOhDpB8&hd=1

 

The final movement culminates in a resolution. The music (also reused in the First Symphony) is subdued and gentle, lyrical and often reminiscent of a chorale in its harmonies. Its title, "Die zwei blauen Augen von meinem Schatz" ("The Two Blue Eyes of my Beloved"), deals with how the image of those eyes has caused the Wayfarer so much grief that he can no longer stand to be in the environment. He describes lying down under a linden tree, allowing the flowers to fall on him. He wishes to return to his life before his travels. He asks that the whole affair had never occurred: "Everything: love and grief, and world, and dreams!"

 

Original German Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da mußt ich Abschied nehmen vom allerliebsten Platz! O Augen blau, warum habt ihr mich angeblickt? Nun hab' ich ewig Leid und Grämen! Ich bin ausgegangen in stiller Nacht wohl über die dunkle Heide. Hat mir niemand Ade gesagt Ade! Mein Gesell' war Lieb und Leide! Auf der Straße stand ein Lindenbaum, Da hab' ich zum ersten Mal im Schlaf geruht! Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wußt' ich nicht, wie das Leben tut, War alles, alles wieder gut! Alles! Alles, Lieb und Leid Und Welt und Traum!

In English The two blue eyes of my darling they sent me into the wide world. I had to take my leave of this most-beloved place! O blue eyes, why did you gaze on me? Now I have eternal sorrow and grief. I went out into the quiet night well across the dark heath. To me no one bade farewell. Farewell! My companions are love and sorrow! By the road stood a linden tree, Where, for the first time, I found rest in sleep! Under the linden tree that snowed its blossoms over me, I did not know how life went on, and all was well again! All! All, love and sorrow and world and dream!

Hermann Schey singt Lieder eines fahrenden Gesellen (Songs of a Wayfarer)
von Gustav Mahler (07.07.1860-18.05.1911)
Concertgebouw Orchestra Amsterdam
Willem Mengelberg, Dirigent
23.11.1939

LouisLee

Beethoven, Symphony No. 7 in A major, Op. 92. conducted by Willem Mengelberg - 1940 Live

I. Poco sostenuto ¡X Vivace

http://www.youtube.com/watch?v=-GFuoqnBg_w&hd=1

II. Allegretto

http://www.youtube.com/watch?v=nin9MXJr1II&hd=1

III. Presto ¡X Assai meno presto (trio)

http://www.youtube.com/watch?v=ZNOC-b88Na4&hd=1

IV. Allegro con brio

http://www.youtube.com/watch?v=cDTFP0Fl8Y0&hd=1

Concertgebouw Orchestra amsterdam, Willem Mengelberg, Conductor.
Rec, 25 April 1940, Live.

³Ì¨Îª©¥»¨©¤C!!!

LouisLee

FRANCESCO TAMAGNO - 1903 - NIUN MI TEMA - OTELLO take 1 http://www.youtube.com/watch?v=uKdMkNW8kUs&hd=1 Verdi, Otello, act IV. Rec February 1903. take 2: http://www.youtube.com/watch?v=zA4j03yqwIg&hd=1 Verdi, Otello, act IV. Rec October 1903.

LouisLee

Mildred Dilling performs in 1940

http://www.youtube.com/watch?v=PNFtRU_c2Ec&hd=1


Mildred Dilling in 1940 at the age of 47. This 10 minute film was made to be shown as a short before the main feature in a movie theater. She plays La Source by Zabel, March of the Men of Harlach arranged by John Thomas, and Follets by Hasselmans.

LouisLee

Melba and Brownlee sing La Traviata - Dite alla giovine 1926

 

http://www.youtube.com/watch?v=2P6Z6yhJYPs&hd=1

LouisLee

¤Þ¥Î:

­ì©«¥Ñ ªêºa ©ó 19-2-2011 20:11 µoªí Cecillia Bartoli(ªÝ¹Ï²ú)·|¬°¤µ©¡­»´äÃÀ³N¸`§@¶}¹õºt°Û, Louis¥S¦³ÉN¶R­¸?

 

¶Q¨ì攞©R, ­ø¥h«£!!!

LouisLee

Willem Mengelberg conducts Egmont Overture

http://www.youtube.com/watch?v=KYB3-7Of58Q&hd=1

Willem Mengelberg (1871-1951) conducts Egmont Overture by Ludwig van Beethoven. CONCERTGEBOUW of Amsterdam

Live recording: Amsterdam, April 1943

LouisLee

Schubert Symphony no. 8 "Unfinished" conducted by Willem Mengelberg

1. Movement "Allegro moderato"

http://www.youtube.com/watch?v=Bo9WcWfH6Rk&hd=1



2. Movement "Andante con moto"

http://www.youtube.com/watch?v=ECVlukOG7iI&hd=1



Concertgebouw Orchestra Amsterdam
recorded: IX. 1942

LouisLee

Willem Mengelberg conducts Vivaldi's Concerto in A minor for
2 violins op 3 No.8

1. Movement "Allegro moderato"

http://www.youtube.com/watch?v=05aDRpo-NdE&hd=1



2. Movement "Adagio"

http://www.youtube.com/watch?v=HDus4j32lv0&hd=1



3. Movement " Allegro"

http://www.youtube.com/watch?v=dkDDmcpnqao&hd=1



Willem Mengelberg conducts the concerto in A minor for
2 violins, strings & continuo, op 3 No.8, RV 522 "L´estro armonico"
by Antonio Vivaldi (1678-1741)

Louis Zimmermann and Ferdinand Hellman, violin
Concertgebouw Orchestra Amsterdam
recorded: 21. XII.1937

 

LouisLee

Ada CROSSLEY ~ Caro mio ben (1903)

 

http://www.youtube.com/watch?v=-XcnTb5GMXE&hd=1

 

Australian contralto Ada Crossley (1874-1929) / Caro mio ben (Giordano) / Recorded: April 30, 1903 --

Contralto Ada Crossley studied in Melbourne and made her debut there as a concert singer (1892). In 1894 she came to London for further training and became a pupil of Sir Charles Santley; she later studied with Mathilde Marchesi in Paris. In 1895 she gave her first concert in London and thereafter had great success in the concert hall. In 1897 she sang at the English court for Queen Victoria and in 1903 she made a long American tour. In Amsterdam she sang under William Mengelberg, and in 1912 gave a concert in London under the direction of Henry J. Wood for the benefit of victims of the "S.S. Titanic" disaster. Later she expanded her teaching activities in the English metropolis. She never appeared on stage. She had a dark-timbred and melodic contralto voice. (from "A Concise Biographical Dictionary of Singers" by K.J. Kutsch & Leo Riemens / Chilton Book Company - 1969)

LouisLee

"Danny Boy" - Ernestine Schumann-Heink ­ì°Ûª©

accoustic version, recorded in 1917:

http://www.youtube.com/watch?v=57_tkYa4G6s&hd=1

electrical version, recorded in 1929:

http://www.youtube.com/watch?v=r8K5Qg6B00M&hd=1


German-American contralto Ernestine Schumann-Heink (1861-1936), one of the legendary singers of the 20th century, who, together with Caruso, Melba and Battistini, helped to define "The Golden Age of Opera", in the ballad, "Danny Boy" (with lyrics by Frederick Weatherly set to the tune of Londonderry Air), recorded in September 1917 when she was at the height of her popularity in America during World War I.

The lyrics are given as follows. Please note that there are some slight variations in Schumann-Heink's recording:

Oh Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side
The summer's gone, and all the leaves are falling
T'is you, T'is you must go and I must bide.
But come ye back when summer's in the meadow
Or when the valley's hushed and white with snow
t'is I'll be there in sunshine or in shadow
Oh Danny boy, oh Danny boy, I love you so.

And when ye come, and all the flow'rs are dying
If I am dead, as dead I well may be
ye'll come and find the place where I am lying
And kneel and say an "Ave" there for me.
And I shall hear, tho' soft you tread above me
And oh, my grave shall warmer, sweeter be
For ye will bend and tell me that you love me
And I shall sleep in peace until you come to me.

The following biographical profile of Schumann-Heink comes from Cantabile-subito (www.cantabile-subito.de): "Ernestine Schumann-Heink was born as Tini Rössler in Prague. Among her teachers was Giovanni Battista Lamperti. She made her début at the Dresden opera as Azucena in 1878 which was not very successful because of her lacking stage experience. But there were hopeful signs in her singing. In the next season she made consistent progress in vocal technique and soon she began to reveal a unique individuality in her vocal category. After marriage to Ernst Heink, the impresario Pollini engaged her to Hamburg where she stayed until 1897. She was a much acclaimed Erda, Fricka, Waltraute and Brangäne and performed the roles with Gustav Mahler at Covent Garden. In 1893, after divorce from first husband, she married the actor Paul Schumann. A very close relationship to Bayreuth's Festival lasted from 1896 to 1914. Cosima Wagner was very fond of the artist and admired her greatly. She became a regular member of the Metropolitan from 1898 to 1903. By then she had begun series of popular cross-country American concert tours that made her into a national legend. Her huge repertory included about 150 roles! Her English and American stage career was mainly centered on Wagner. Her farewell performance was at the Met in 1932 as Erda, one of her greatest achievements on stage."


Vs

Danny Boy - Deanna Durbin 1946 

http://www.youtube.com/watch?v=j32Fnb_8Bv4&hd=1



¦ü¥G«Yªø¦¿«á®ö±À«e®ö, Schumann-Heink «Y°Û§Þ¥©, ¦ý«Y Deanna Durbin «Y°Û¯u·P±¡!!!

LouisLee

Philippe Gaubert plays Doppler Fantaisie Pastorale





Philippe Gaubert plays Bach Badinerie 1919