Jeremy Siepmann - The Instruments of the Orchestra

Naxos: 8558040-46

Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates.
Jeremy Siepmann - The Instruments of the Orchestra

Label:

Naxos

Catalogue No:

8558040-46
(8.558040-46)

Discs:

7

Barcode:

0636943804025

Length:

7 hours 58 minutes

Medium:

CD (download also available)
| Share

Jeremy Siepmann - The Instruments of the Orchestra

Selected orchestral works accompanied by a narrative from Siepmann


CD - 7 discs

$37.50

(also available to download from $49.00)

Usually despatched in 2 - 3 working days. (Available now to download.)

Jeremy Siepmann: Instruments of the Orchestra

Wagner: Tannhauser: Overture

Anonymous: Domna, pos vos ay chausida

We don't merely use instruments, we play on them. And they play on us.

Brahms: Hungarian Dance No. 7

The violin is one of the most tender and beautiful instruments ever invented.

Brahms: Violin Concerto in D major: II. Adagio

But for a long time it was seen as the instrument of the devil.

Stravinsky: The Soldier's Tale: Triumphal March of the Devil

The manipulative seductiveness of the gypsy violin

Anonymous: Csardas Music

The violin and the imitation of nature

Vivaldi: The Four Seasons: Spring: I. Allegro

Birds are again evoked in the second concerto, especially music's natural favourite.

Vivaldi: The Four Seasons: Summer: I. Allegro non molto

Like the devil, the violin is a master of disguise.

Kreisler: Schon Rosmarin

The menacing sensuality of Ravel's Tzigane; a very different side of the violin:

Ravel: Tzigane

Do we now have the true measure of this instrument? Not just yet.

Paganini: Caprice No. 24

Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C minor

Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo

Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime

Prokofiev: Romeo and Juliet: Act IV

Vivaldi uses it to illustrate the shivering of travellers crossing the ice.

Vivaldi: The Four Seasons: Winter: I. Allegro non molto

The violin muted

Debussy: Clair de lune

The gentleness of muted strings persists even when a whole orchestra plays.

Mozart: Piano Concerto No. 21 in C major, K. 467: II. Andante

The pizzicato violin

Strauss: Pizzicato Polka

In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato.

Prokofiev: Violin Concerto No. 2 in G minor: II. Andante assai

Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I

Holst: The Planets: I. Mars: The Bringer of War

Bach: Sonata No. 3 in C major for unaccompanied violin: II. Fugue

Brahms: Hungarian Dance No. 4

Double-stopping is a standard feature of a lot of folk music.

Vivaldi: The Four Seasons: Autumn: I. Allegro

Now the same technique, but the sound might have come from another world.

Ravel: Bolero

Double-stopping can only approximate the sound of a real violin duet.

Joachim: Cadenza to the Violin Concerto by Brahms

Now compare that with a real violin duet.

Bartok: 44 Duos: I. Teasing Song

Another duo by Bartok, demonstrating the violin's rich lower register

Bartok: 44 Duos: II. Maypole Dance

And now what may be the most beautiful accompanied violin duet in history

Bach: Concerto in D minor for two violins: II. Largo ma non tanto

The soul of the violin is in song; but what about this weird passage?

Prokofiev: Violin Concerto No. 1 in D major: II. Scherzo

The use of harmonics in the orchestra can be both magical and unsettling.

Mahler: Symphony No. 1, "Titan": I. Langsam, schleppend (opening)

Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring.

Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entr'acte

Ravel's harmonics in Mother Goose effect a magical transformation.

Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast

Stravinsky: The Firebird: Introduction

The natural upper notes of the violins have a unique emotional "grab"

Strauss: Also sprach Zarathustra: Of the Afterworldsmen

Still in their upper register, the violins unleash the energy of a young colt.

Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana

Elsewhere, Britten uses the same high register to create a very different mood.

Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn

To end this outing with the violins, a charming little elfin dance

Hellmesberger: Elfenreigen

Introduction to the viola

Telemann: Viola Concerto: I. Largo

Khachaturian gets a very different sound from it: fuller, fruitier, more exotic.

Khachaturian: Gayane Suite No. 1: III. Armen's Solo

Very nearly the whole of the violin's upper register is also available to the viola.

Britten: Peter Grimes: Passacaglia, Op. 33b

Strauss: Don Quixote

Berlioz: Harold in Italy: IV. Orgy of Brigands

The muted viola: intimate, gentle, poignant in Dvorak

Dvorak: Cypresses: IX. Thou Only Dear One

The massed violas of the modern symphony orchestra in Mahler

Mahler: Symphony No. 4: III. Ruhevoll, poco adagio

The "period" viola in Bach

Bach: Brandenburg Concerto No. 6: III. Allegro

The cello: a voice of unique nobility

Bach: Suite No. 1 for unaccompanied cello: I. Prelude

Brahms and the "soul" of the cello

Brahms: Piano Concerto No. 2 in B flat major: III. Andante

Most orchestral composers tend to emphasise the cello's lower register.

Bach: Herz und Mund und Tat und Leben, BWV 147: Aria: Bereite dir, Jesu

In the time of Beethoven the cello remained as fundamental as ever.

Beethoven: Symphony No. 3 "Eroica": IV. Finale

But the cello is not condemned to spend its life in the basement.

Popper: Elfentanz, Op. 39

Not only in recital showpieces like that is the cello used in its highest register.

Tavener: The Protecting Veil: opening

A cello with an identity-crisis: the pizzicato Flamencan

Tagell: Flamenco

Double-stopping in the lower reaches of the cello's range

Cassado: Solo Suite for Cello and Piano: Sardana

It's in its middle register that the cello really comes into its own.

Rachmaninov: Oriental Dance, Op. 2, No. 2

Beethoven: Symphony No. 5: II. Andante con moto

Beethoven: Symphony No. 9: IV. Finale

Introduction to the double-bass

Saint-Saens: The Carnival of the Animals: The Elephant

But the double-bass can be intensely expressive and graceful.

Bottesini: Elegy No. 1 in D major

Bottesini: Allegro di concerto, "Alla Mendelssohn"

Bottesini: Capriccio di bravura

Mahler: Symphony No. 1, "Titan": III. Feierlich und gemessen, ohne zu schleppen / Mahler: Symphony No. 3: I. Kraftig

Prokofiev: Lieutenant Kije Suite: III. Kije's Wedding / Prokofiev: Romeo and Juliet: Act III

Beethoven: Symphony No. 5: III. Allegro

The antiquity and magic of the flute

Debussy: Prelude a l'apres-midi d'un faune

The versatility and agility of the flute

Bach: Orchestral Suite No. 2 in B minor: VII. Badinerie

The flute in fifteenth-century Spain

Anonymous: Sa'dawi

Other flutes: the bass and alto

Sallinen: Chamber Music II

The Piccolo - aptly named

Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin

From a piccolo of the eighteenth century to one of its descendants in the twentieth

Stravinsky: Suite No. 2 for Small Orchestra: II. Valse

A variety of techniques

Sallinen: Chamber Music II

Flutter-tonguing. But Tchaikovsky got there eighty years before.

Tchaikovsky: The Nutcracker: Act II, No. 2: Scene

From the transverse to the vertical: the Baroque recorder

Telemann: Recorder Suite in A minor: Menuet II

An unfamiliar, early vision of the instrument

Baston: Naelden, Naelden

The Bachian oboe

Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die

Introduction to the cor anglais or 'English horn'

Dvorak: Symphony No. 9, "From the New World": II. Largo

The loneliness of the cor anglais

Sibelius: The Swan of Tuonela

The cor anglais joins the French horn in Haydn.

Haydn: Symphony No. 22, "The Philosopher": I. Adagio

Introduction to the oboe d'amore, beloved of Bach - but also of Ravel

Ravel: Bolero

Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap

Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II

As the high clarinets tend to be loud, so the bass tends to be soft

Khachaturian: Gayane Suite No. 1: V. Gayane's Solo

Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria

The range of the normal clarinet parts goes quite high...

Tchaikovsky: The Snow Maiden: Scene 5: Melodrama

....and quite low.

Prokofiev: Peter and the Wolf: The Cat

The clarinet as concerto soloist

Mozart: Clarinet Concerto in A major: III. Rondo

But that's not the instrument Mozart wrote it for; this is:

Mozart: Clarinet Concerto in A major: III. Rondo

Introduction to the saxophone

Kodaly: Hary Janos Suite: IV. The Battle and Defeat of Napoleon

The soprano saxophone has quite a different feel to it

Bizet: L'Arlesienne Suite No. 1: II. Minuet

The little sopranino sax goes even higher

Ravel: Bolero

The most famous use of the saxophone is in an orchestration by Ravel

Mussorgsky: Pictures at an exhibition: The Old Castle

The saxophone can be quite contagiously good-humoured.

Wiedoeft: Sax-o-phun

The puffa-puffa image of the bassoon

Prokofiev: Peter and the Wolf: Grandfather

The Bachian bassoon, in accompanimental mode

Bach: Weicher nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1

Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala

And Ravel, also in Spanish mode, does likewise

Ravel: Bolero

The bassoon as a voice of high seriousness, indeed desolate loneliness

Bax: Symphony No. 3: I. Lento moderato

The eerie bassoon in its highest register

Stravinsky: The Rite of Spring: opening

Stravinsky now draws on its lowest register, lonely and melancholy.

Stravinsky: The Firebird Suite (1919): Berceuse

The bassoon as concerto soloist, avoiding all exaggeration

Molter: Bassoon Concerto in G minor: III.

The deep-voiced contra-bassoon, as a fairy-tale beast

Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast

The French Horn under its woodwind hat

Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni

Now a more prominent role, in a woodwind quintet from an earlier era

Reicha: Wind Quintet in A minor, Op. 100, No. 5: II. Andante con variazioni

The horn in harmonious blend with strings in another quintet

Mozart: Horn Quintet in E flat major, K. 407: III. Rondeau

The Trumpet as virtuoso soloist

Bach: Brandenburg Concerto No. 2: III. Allegro assai

The special brilliance of paired trumpets

Vivaldi: Concerto in C for two trumpets, RV 537: I. Allegro

The ceremonial trumpet

Copland: Fanfare for the Common Man

Trumpets and drums - an incomparable alliance

Handel: Messiah: The Trumpet Shall Sound

The versatility of the trumpet, from the most public to the most lonely

Gershwin: Piano Concerto in F: II. Andante con moto - Adagio

Gershwin: An American in Paris / Stravinsky: The Soldier's Tale: The March

Bizet: Carmen Suite No. 2: II. Habanera

The trumpet as the voice of strength and courage

Bizet: Carmen Suite No. 2: IV. Toreador's Song

Stravinsky: Petrushka: The Blackamoor / Prokofiev: Lieutenant Kije Suite: I. The Birth of Kije

Copland: Billy the Kid

The trumpet as character actor

Mussorgsky: Pictures at an Exhibition: Samuel Goldenberg and Schmuyle

The trumpet as the voice of God

Bach: Mass in B minor: Et expecto

The birth of the trombone

Anonymous: Aenmerckt nu hier

The birth of the brass as a family

Gabrieli: Canzon a 12 in Double Echo

The trombone in the eighteenth century

Albrechtsberger: Trombone Concerto in B flat major: III. Finale

Hoser: Romance for trombone and organ / Berlioz: Requiem: Dies Irae

Liszt: Hosannah, S677/R409

The trombones become part of the orchestra

Beethoven: Symphony No. 5: IV. Allegro

Wagner: Tannhauser: Overture

The Trombone as caricaturist

Stravinsky: Pulcinella: No. 19: Vivo

Bartok: Concerto for Orchestra: IV. Intermezzo interrotto

The horn and the hunt

Mozart: Horn Concerto No. 4 in E flat, K. 495: III. Rondo

The challenging horn of the Baroque

Rameau: Abaris ou les Boreades: II. Menuet

The scarcity of first-rate players in Handel's time

Handel: Water Music: Suite No. 1 in F major, HWV 348: Menuet

Stravinsky: The Firebird Suite (1919): Finale

Horns and the sound of nobility

Wagner: Tannhauser: Overture (opening)

The special sound of the horn in its higher register

Bach: Mass in B minor: Quoniam tu solus sanctus

The trumpet-like sound of massed horns

Mahler: Symphony No. 3: I. Kraftig (opening)

The tuba - unfairly maligned?

Prokofiev: Symphony No. 6: III. Vivace

The tuba perfectly cast by Ravel

Mussorgsky: Pictures at an Exhibition: Bydlo

Introduction. And we begin with a bang.

Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening)

At the opposite extreme is the triangle.

Liszt: Piano Concerto No. 1 in E flat major: Scherzo

Categories of percussion: tuned and untuned. The side drum

Rossini: La gazza ladra (The Thieving Magpie): Overture (opening)

Nielsen: Clarinet Concerto (opening)

The tambourine. One of the oldest instruments in the world

Anonymous: Den hoboecken dans

Even older is the originally oriental gong.

Ravel: Ma Mere l'oye (Mother Goose): Laideronette

Britten: Peter Grimes: Passacaglia, Op. 33b

Satie: Gymnopedie No. 2

Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes

Ravel: Piano Concerto in G major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5

Wood blocks

Copland: Rodeo: IV. Hoe-Down

Glinka: Jota aragonesa

Monteverdi: Scherzi musicali: Damigella tutta bella

A still earlier example from fifteenth-century Spain

Traditional: Yo m'enamori d'un aire

The birth of the bongo

Bernstein: West Side Story (Symphonic Dances)

Verdi: II Trovatore: Act II: Anvil Chorus

Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana

Moncayo: Huapango

Onwards to the tuned percussion. First, the timpani

Strauss: Also sprach Zarathustra: Introduction

Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung

Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat

Taking advantage of tunability

Bartok: Music for Strings, Percussion and Celesta: II. Allegro

Shchedrin: Carmen Suite: IV. Changing of the Guard

Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera

Saint-Saens and the xylophone

Saint-Saens: The Carnival of the Animals: Fossils

Ravel and the xylophone

Ravel: Ma Mere l'oye (Mother Goose): Laideronette

Shchedrin: Carmen Suite: III. First Intermezzo

Introducing the vibraphone

Steiner: The Treasure of the Sierra Madre: Narange dolce

Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera

Introducing the Hungarian cimbalom

Traditional: Folk Dances

The cimbalom and the symphony orchestra

Kodaly: Hary Janos Suite : III. Song

Introducing the tubular bells

Kodaly: Hary Janos Suite: II. Viennese Musical Clock

A more "up-front" approach from Rodion Shchedrin

Shchedrin: Carmen Suite: I. Introduction

Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude

Introducing the celesta

Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy

Magic, in the use of collective percussion

Ravels: Miroirs: V. La vallee des cloches

Shchedrin: Carmen Suite: VI. Scene

Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1

The traditionally subservient role of the harpsichord in the Baroque orchestra

Bach: Brandenburg Concerto No. 2: II. Andante

Saint-Saens: Symphony No. 3, "Organ": II. Allegro moderato

Stravinsky: Petrushka: Russian Dance

The anti-Romantic piano as an integral part of the orchestra

Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto

Keyboard instruments in the orchestra - the most powerful of them all:

Saint-Saens: Symphony No. 3, "Organ": II. Presto

But things in Handel's day were very different.

Handel: Organ Concerto in B flat major, Op. 4, No. 3: IV. Gavotte

The organ is difficult to classify.

An unexpected, organ-related guest

Boismortier: Concerto pour Zampogna: III. Allegro

Peasant-fancying… and a touch of the roaming cowboy

Schoenberg: Les Miserables: Drink with Me

Mozart: German Dance, K. 603, No. 3

Mahler: Symphony No. 4: I. Bedachtig, nicht eilen

Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig

Anderson: The Typewriter / Satie: Parade

Varese: Integrales / Gershwin: An American in Paris / Anderson: Sandpaper Ballet

Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude

Strauss: Don Quixote: Variation VIII

Rodrigo: Concierto de Aranjuez: III. Allegro gentile

Seeger / Hays: Washington Breakdown

Steiner: The Treasure of the Sierra Madre: Packing Up

Prokofiev: Romeo and Juliet: Act II: No. 14

Steiner: The Treasure of the Sierra Madre: EI Desayuno

The bongos and the congas and a whole wealth of other drums from Africa and Central America

Evening Raga: Bhapoli

Ferre: Paris cancaille

Karas: The Third Man: Theme

Traditional: Folk Dances

Albeniz: Rondena

Traditional: Svetit Mesiats

Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude

Debussy: Nocturnes: III. Sirenes

Instruments and the imitation of nature. The clarinet as cuckoo

Saint-Saens: The Carnival of the Animals: The Cuckoo

The flute as an all-purpose aviary

Saint-Saens: The Carnival of the Animals: The Aviary

The oboe as duck

Prokofiev: Peter and the Wolf: The Duck

The recording of reality. Does it work as well?

Respighi: The Pines of Rome: III. The Pines of the Janiculum

The recording of reality electronically reborn in new guises

Rautavaara: Cantus Arcticus, "Concerto for Birds and Orchestra": II. Melankolia (Melancholy)

Beethoven turns avian: cuckoo, nightingale, and quail

Beethoven: Symphony No. 6, "Pastoral": II. Szene am Bach

Some importable casting: the violin as braying donkey

Saint-Saens: The Carnival of the Animals: Persons with Long Ears

A truly orchestral hee-haw to be reckoned with

Mendelssohn: A Midsummer Night's Dream: Overture

A thunderstorm in a million

Beethoven: Symphony No. 6, "Pastoral": IV. Gewitter, Sturm

The instrumental depiction of a silent world

Saint-Saens: The Carnival of the Animals: The Aquarium

Saint-Saens' menagerie takes a curtain call

Saint-Saens: The Carnival of the Animals: Finale

The grouping of instrumental families. An additive approach. First, two violins.

Bartok: 44 Duos: IV. Midsummer Night Song

A greater contrast, of both pitch and character, violin and viola

Mozart: Duo for Violin and Viola in B flat major, K. 424: finale: variations 1 and 2

Arrival at the standard string trio: violin, viola and cello

Schubert: String Trio in B flat major: III. Menuetto

The string quartet: two violins, viola and cello

Beethoven: String Quartet in F major, Op. 18, No. 1: III. Scherzo

The string quintet - when the extra instrument is a second viola

Mozart: String Quintet No. 5 in D major, K. 593: II. Adagio

The string quintet - when the extra instrument is a second cello

Schubert: String Quintet in C major: III. Scherzo

The string sextet: two violins, two violas, and two cellos

Brahms: String Sextet No. 1 in B flat major: II. Andante ma moderato

The string octet: the standard string quartet times two

Mendelssohn: Octet in E flat major, Op. 20: movement 1

Double the string octet: a fully fledged string orchestra

Mendelssohn: String Symphony No. 2: III. Allegro vivace

The massed strings of a symphony orchestra

Vaughan Williams: Fantasia on a Theme of Thomas Tallis

Contrasts of pitch and instrumental 'colour' in the woodwind section

Reicha: Wind Quintet in A minor, Op. 100, No. 5: Theme

In the First Variation it's the horn that gets the lion's share

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 1

In Variation Two the torch is handed to the bassoon

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 2

In Variation Three the oboe leads

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 3

Variation Four: conversation before returning to a solo-dominated texture

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 4

And Variation Five is dominated by the clarinet

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 5

The next to be featured is the virtuoso flute.

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 6

Individual farewells and a closing chorus

Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 7

A mixed group: clarinet, bassoon, horn, string quartet, and double-bass

Schubert: Octet in F major, D. 803: III. Trio

The early classical symphony orchestra of Haydn and Mozart

Mozart: Symphony No. 29 in A major, K. 201: IV. Allegro con spirito

Strings, wind, but no brass. What Haydn and Mozart never knew

Gabrieli: Canzon 28

Beethoven's Fifth: two horns, two trumpets, and three trombones join the team

Beethoven: Symphony No. 5: IV. Allegro

From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler

Beethoven changed the face of the symphony and the orchestra forever.

Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig

The cult of orchestral elephantiasis reaches its peak

Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus

When large doesn't necessarily mean loud: Debussy

Debussy: Images: I. Gigues

A crisis of confidence; the orchestra's survival hangs in the balance, but it still develops. The ondes martenot:

Messiaen: Turangalila Symphony: II. Chant d'amour I

The advent of the "early music" movement brings a new vitality and freshness

Lully: Ballet de Xerxes: Gavotte en rondeau

Computer and synthesiser: friends or foes?

Bach: Concerto in D minor for two violins: II. Largo ma non tanto

Bach: Mass in B minor: Dona nobis pacem

Choose Format:

What is MP3 and FLAC?

Download AlbumLengthMP3 PriceFLAC Price
Jeremy Siepmann - The Instruments of the Orchestra Download whole album7:58:06$49.00$58.75
Download individual works/tracksLengthMP3 PriceFLAC Price
7:58:06$410.00$492.00
2:06$1.00$1.20
0:28$1.00$1.20
1:19$1.00$1.20
1:39$1.00$1.20
0:45$1.00$1.20
1:08$1.00$1.20
0:17$1.00$1.20
0:45$1.00$1.20
0:43$1.00$1.20
3:33$1.00$1.20
0:23$1.00$1.20
0:35$1.00$1.20
0:09$1.00$1.20
0:41$1.00$1.20
0:18$1.00$1.20
1:55$1.00$1.20
0:15$1.00$1.20
0:51$1.00$1.20
0:15$1.00$1.20
0:48$1.00$1.20
1:57$1.00$1.20
1:06$1.00$1.20
0:22$1.00$1.20
0:46$1.00$1.20
0:14$1.00$1.20
0:57$1.00$1.20
0:31$1.00$1.20
1:41$1.00$1.20
0:30$1.00$1.20
1:26$1.00$1.20
0:38$1.00$1.20
2:29$1.00$1.20
0:26$1.00$1.20
2:02$1.00$1.20
3:09$1.00$1.20
1:27$1.00$1.20
2:09$1.00$1.20
3:51$1.00$1.20
0:14$1.00$1.20
0:37$1.00$1.20
0:30$1.00$1.20
0:49$1.00$1.20
0:20$1.00$1.20
0:44$1.00$1.20
0:12$1.00$1.20
0:52$1.00$1.20
0:10$1.00$1.20
0:40$1.00$1.20
0:17$1.00$1.20
6:43$1.00$1.20
0:42$1.00$1.20
0:34$1.00$1.20
0:29$1.00$1.20
1:33$1.00$1.20
0:11$1.00$1.20
0:33$1.00$1.20
0:29$1.00$1.20
0:36$1.00$1.20
0:46$1.00$1.20
0:32$1.00$1.20
0:55$1.00$1.20
0:14$1.00$1.20
1:10$1.00$1.20
0:11$1.00$1.20
1:08$1.00$1.20
0:12$1.00$1.20
1:29$1.00$1.20
0:42$1.00$1.20
2:46$1.00$1.20
0:14$1.00$1.20
1:15$1.00$1.20
0:39$1.00$1.20
1:00$1.00$1.20
1:03$1.00$1.20
2:00$1.00$1.20
0:34$1.00$1.20
3:00$1.00$1.20
0:40$1.00$1.20
1:13$1.00$1.20
1:05$1.00$1.20
5:18$1.00$1.20
0:28$1.00$1.20
2:30$1.00$1.20
0:19$1.00$1.20
1:04$1.00$1.20
0:27$1.00$1.20
3:03$1.00$1.20
0:14$1.00$1.20
0:46$1.00$1.20
0:33$1.00$1.20
2:55$1.00$1.20
0:10$1.00$1.20
2:54$1.00$1.20
0:15$1.00$1.20
2:48$1.00$1.20
0:31$1.00$1.20
1:08$1.00$1.20
0:21$1.00$1.20
1:32$1.00$1.20
0:54$1.00$1.20
0:54$1.00$1.20
0:43$1.00$1.20
1:32$1.00$1.20
0:10$1.00$1.20
2:37$1.00$1.20
0:47$1.00$1.20
4:42$1.00$1.20
1:33$1.00$1.20
2:25$1.00$1.20
1:20$1.00$1.20
0:20$1.00$1.20
3:19$1.00$1.20
0:21$1.00$1.20
1:18$1.00$1.20
0:24$1.00$1.20
0:55$1.00$1.20
0:29$1.00$1.20
1:12$1.00$1.20
0:19$1.00$1.20
0:47$1.00$1.20
0:09$1.00$1.20
0:54$1.00$1.20
0:19$1.00$1.20
0:31$1.00$1.20
0:28$1.00$1.20
0:44$1.00$1.20
0:40$1.00$1.20
2:12$1.00$1.20
0:23$1.00$1.20
1:09$1.00$1.20
0:35$1.00$1.20
3:34$1.00$1.20
0:41$1.00$1.20
1:24$1.00$1.20
0:11$1.00$1.20
1:49$1.00$1.20
0:17$1.00$1.20
1:43$1.00$1.20
0:22$1.00$1.20
0:50$1.00$1.20
0:37$1.00$1.20
1:38$1.00$1.20
0:18$1.00$1.20
0:54$1.00$1.20
1:44$1.00$1.20
0:14$1.00$1.20
1:17$1.00$1.20
0:05$1.00$1.20
0:45$1.00$1.20
0:19$1.00$1.20
2:48$1.00$1.20
0:16$1.00$1.20
2:47$1.00$1.20
1:06$1.00$1.20
1:03$1.00$1.20
0:09$1.00$1.20
1:17$1.00$1.20
0:12$1.00$1.20
0:53$1.00$1.20
0:16$1.00$1.20
0:55$1.00$1.20
0:11$1.00$1.20
0:22$1.00$1.20
0:25$1.00$1.20
0:46$1.00$1.20
0:20$1.00$1.20
1:19$1.00$1.20
0:56$1.00$1.20
0:16$1.00$1.20
0:59$1.00$1.20
0:15$1.00$1.20
1:03$1.00$1.20
0:15$1.00$1.20
0:58$1.00$1.20
0:21$1.00$1.20
1:01$1.00$1.20
0:14$1.00$1.20
2:02$1.00$1.20
0:28$1.00$1.20
1:30$1.00$1.20
0:25$1.00$1.20
1:42$1.00$1.20
0:12$1.00$1.20
1:32$1.00$1.20
0:16$1.00$1.20
3:55$1.00$1.20
1:02$1.00$1.20
2:37$1.00$1.20
0:19$1.00$1.20
2:54$1.00$1.20
0:36$1.00$1.20
1:25$1.00$1.20
0:34$1.00$1.20
4:10$1.00$1.20
0:38$1.00$1.20
1:14$1.00$1.20
2:05$1.00$1.20
0:55$1.00$1.20
0:13$1.00$1.20
2:20$1.00$1.20
1:41$1.00$1.20
1:16$1.00$1.20
0:31$1.00$1.20
2:25$1.00$1.20
0:15$1.00$1.20
4:35$1.00$1.20
0:38$1.00$1.20
1:36$1.00$1.20
1:24$1.00$1.20
3:18$1.00$1.20
0:36$1.00$1.20
3:06$1.00$1.20
2:18$1.00$1.20
1:20$1.00$1.20
0:47$1.00$1.20
2:46$1.00$1.20
1:04$1.00$1.20
0:13$1.00$1.20
1:37$1.00$1.20
1:46$1.00$1.20
0:40$1.00$1.20
3:39$1.00$1.20
0:42$1.00$1.20
1:20$1.00$1.20
0:24$1.00$1.20
1:57$1.00$1.20
0:59$1.00$1.20
0:12$1.00$1.20
0:56$1.00$1.20
0:11$1.00$1.20
4:15$1.00$1.20
0:21$1.00$1.20
0:38$1.00$1.20
0:49$1.00$1.20
1:07$1.00$1.20
0:26$1.00$1.20
3:00$1.00$1.20
1:02$1.00$1.20
1:03$1.00$1.20
0:26$1.00$1.20
1:21$1.00$1.20
0:36$1.00$1.20
0:52$1.00$1.20
1:08$1.00$1.20
0:21$1.00$1.20
1:43$1.00$1.20
0:28$1.00$1.20
1:00$1.00$1.20
1:00$1.00$1.20
1:02$1.00$1.20
1:28$1.00$1.20
1:05$1.00$1.20
0:31$1.00$1.20
0:44$1.00$1.20
1:09$1.00$1.20
1:50$1.00$1.20
0:30$1.00$1.20
1:06$1.00$1.20
0:33$1.00$1.20
1:39$1.00$1.20
1:08$1.00$1.20
1:27$1.00$1.20
1:20$1.00$1.20
0:14$1.00$1.20
1:48$1.00$1.20
0:29$1.00$1.20
0:37$1.00$1.20
0:22$1.00$1.20
2:25$1.00$1.20
1:01$1.00$1.20
1:15$1.00$1.20
0:16$1.00$1.20
1:18$1.00$1.20
0:11$1.00$1.20
2:37$1.00$1.20
0:38$1.00$1.20
0:20$1.00$1.20
1:25$1.00$1.20
0:57$1.00$1.20
0:23$1.00$1.20
3:00$1.00$1.20
0:10$1.00$1.20
1:30$1.00$1.20
0:17$1.00$1.20
2:04$1.00$1.20
0:06$1.00$1.20
1:08$1.00$1.20
0:38$1.00$1.20
0:14$1.00$1.20
2:10$1.00$1.20
0:19$1.00$1.20
1:39$1.00$1.20
1:25$1.00$1.20
1:16$1.00$1.20
0:48$1.00$1.20
3:11$1.00$1.20
1:28$1.00$1.20
4:28$1.00$1.20
0:23$1.00$1.20
5:06$1.00$1.20
0:18$1.00$1.20
1:49$1.00$1.20
0:15$1.00$1.20
3:44$1.00$1.20
0:24$1.00$1.20
0:14$1.00$1.20
1:59$1.00$1.20
0:40$1.00$1.20
1:02$1.00$1.20
1:16$1.00$1.20
0:47$1.00$1.20
0:53$1.00$1.20
2:46$1.00$1.20
2:35$1.00$1.20
1:42$1.00$1.20
1:13$1.00$1.20
0:56$1.00$1.20
0:19$1.00$1.20
0:18$1.00$1.20
0:13$1.00$1.20
0:18$1.00$1.20
0:26$1.00$1.20
0:17$1.00$1.20
0:20$1.00$1.20
0:25$1.00$1.20
0:21$1.00$1.20
1:20$1.00$1.20
1:02$1.00$1.20
1:27$1.00$1.20
4:15$1.00$1.20
0:42$1.00$1.20
1:46$1.00$1.20
0:14$1.00$1.20
1:08$1.00$1.20
0:36$1.00$1.20
1:55$1.00$1.20
0:12$1.00$1.20
1:17$1.00$1.20
0:32$1.00$1.20
1:12$1.00$1.20
0:26$1.00$1.20
1:12$1.00$1.20
0:33$1.00$1.20
0:47$1.00$1.20
0:09$1.00$1.20
0:29$1.00$1.20
0:17$1.00$1.20
3:57$1.00$1.20
2:07$1.00$1.20
2:20$1.00$1.20
0:24$1.00$1.20
2:09$1.00$1.20
1:20$1.00$1.20
0:47$1.00$1.20
0:27$1.00$1.20
2:18$1.00$1.20
0:12$1.00$1.20
1:09$1.00$1.20
0:20$1.00$1.20
1:53$1.00$1.20
0:30$1.00$1.20
2:21$1.00$1.20
0:19$1.00$1.20
2:12$1.00$1.20
0:16$1.00$1.20
1:27$1.00$1.20
0:20$1.00$1.20
2:16$1.00$1.20
0:15$1.00$1.20
2:12$1.00$1.20
0:37$1.00$1.20
2:58$1.00$1.20
0:44$1.00$1.20
1:10$1.00$1.20
0:05$1.00$1.20
1:28$1.00$1.20
0:07$1.00$1.20
1:08$1.00$1.20
0:13$1.00$1.20
1:12$1.00$1.20
0:07$1.00$1.20
1:17$1.00$1.20
0:04$1.00$1.20
1:12$1.00$1.20
0:07$1.00$1.20
1:22$1.00$1.20
0:19$1.00$1.20
0:40$1.00$1.20
0:19$1.00$1.20
2:01$1.00$1.20
0:34$1.00$1.20
3:32$1.00$1.20
0:34$1.00$1.20
1:39$1.00$1.20
0:58$1.00$1.20
4:28$1.00$1.20
0:27$1.00$1.20
0:47$1.00$1.20
1:44$1.00$1.20
1:04$1.00$1.20
1:43$1.00$1.20
1:10$1.00$1.20
1:50$1.00$1.20
2:41$1.00$1.20
1:14$1.00$1.20
0:57$1.00$1.20
0:47$1.00$1.20
1:35$1.00$1.20
2:13$1.00$1.20
3:24$1.00$1.20
subtotal:$0.00$0.00

Copyright © 2002-14 Presto Classical Limited, all rights reserved.