Schumann: Fantasiestücke, Op. 73 (Fantasy Pieces)

This page lists all recordings of Fantasiestücke, Op. 73 (Fantasy Pieces), by Robert Schumann (1810-56) on CD, SACD, DVD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Schubert & Schumann: Transcriptions for Clarinet & Harp

Schubert & Schumann: Transcriptions for Clarinet & Harp


Schubert:

Ständchen 'Leise flehen meine Lieder', D957 No. 4

transcribed for Clarinet & Harp

Sonata in A minor 'Arpeggione', D821

transcribed for Clarinet & Harp

Schumann:

Fantasiestücke, Op. 73

transcribed for Clarinet & Harp

Romances (3), Op. 94

transcribed for Clarinet & Harp

Schumann, Clara:

Er ist gekommen in Sturm und Regen, Op. 12 No. 2 (Text: Friedrich Rückert)

transcribed for Clarinet & Harp

Liebst du um Schönheit, Op. 12 No. 4 (text: Friedrich Rückert)

transcribed for Clarinet & Harp

Warum willst du and're fragen, Op. 12 No. 11 (Text: Friedrich Rückert)

transcribed for Clarinet & Harp


Anneleen Lenaerts (harp) & Dionysis Grammenos (clarinet)

Belgian harpist Anneleen Lenaerts is one of the leading soloists of her instrument. In 2010 she was appointed Principal Harpist of the Vienna Philharmonic. She won no fewer than twenty-three prizes, amongst them the “Grand Prix International Lily Laskine”. Hailed by Télérama, France, as “the new Prince of the clarinet”, Dionysis Grammenos was the first ever wind player to win the Grand Prix d’Eurovision from the European Broadcasting Union.

Released or re-released in last 6 months

Warner Classics - 9029591322

(CD)

$12.75

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Bach & Schumann

Bach & Schumann


Bach, J S:

Sonata for Violin & Harpsichord No. 4 in C minor, BWV1017

recorded 2016

Brahms:

Sonatensatz (Scherzo from the F.A.E. sonata), WoO 2

recorded 2016

Schumann:

Violin Sonata No. 1 in A minor, Op. 105

recorded 1998

Fantasiestücke, Op. 73

recorded 2016


Martha Argerich (piano) & Itzhak Perlman (violin)

Itzhak Perlman and Martha Argerich have recorded a historic first studio album together: it has been 18 years since their last album together, a live recital from the Saratoga Performing Arts Center. On that momentous occasion in 1998, the pair performed three of the 19th century’s most ambitious and enthralling works for violin and piano – Beethoven’s Kreutzer Sonata, the Franck Violin Sonata and Schumann’s Violin Sonata No.1. The first two sonatas were released in 1999 by EMI Classics (now Warner Classics) in what was the pair’s only recording together until now.

“Working with Martha was a unique experience for me … Her brilliance and the colours she uses when she plays are recognisable as soon as you hear them – it’s her; nobody else sounds like that… I am so excited that we were actually able to record together again… When this possibility came along that she might be able to have a couple of days free to record I said, ‘I’ll go any place!’” Itzhak Perlman

Martha Argerich added: “I feel so stimulated to play with Itzhak, it’s really a feast – fantastic! It’s a very special relationship, I am completely enchanted.”

“Argerich’s piano playing is supremely alive, moving under Perlman’s muscular melody in ebbing, tugging waves...Perlman’s tone may be fractionally less sweet than it was nearly two decades ago, but the sense of line in his playing remains supreme, and Argerich’s Bach accompaniments are like a sprung dancefloor underneath him.” The Guardian, 13th October 2016 ****

“The sense of two consummate musicians utterly in love with the music and responding instinctively to each other is palpable throughout…this is the result of two lifetimes of world-class musicianship.” Gramophone Magazine, October 2016

“There is clearly a strong musical rapport…with Perlman the cantabile magician exalting in Schumann’s melodic genius and Martha Argerich restlessly probing – texturally, dynamically and temporally” BBC Music Magazine, Christmas 2016 ****

Released or re-released in last 6 months

Early Music

Warner Classics - 9029593789

(CD)

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The Lyrical Clarinet Volume 2

The Lyrical Clarinet Volume 2


Chausson:

Andante et Allegro (1881)

Debussy:

Petite Pièce pour Clarinette et Piano

Field:

Nocturne No. 2 in C minor

arr. McHale. Premiere Recording

Nocturne No. 5 in B flat major

arr. McHale. Premiere Recording

Nocturne No. 10 in E minor

arr. McHale. Premiere Recording

Françaix:

Tema con variazioni for clarinet & piano

Guastavino:

Sonate pour clarinette et piano

Massenet:

Meditation (from Thaïs)

Ravel:

Vocalise-étude en forme de habanera

Schumann:

Fantasiestücke, Op. 73


Michael Collins (clarinet) & Michael McHale (piano)

After a highly praised first volume, including such sonatas as Poulenc’s and Saint-Saëns’s, the virtuoso clarinettist Michael Collins – exclusive on Chandos – presents a new collection of pieces for the Lyrical Clarinet.

This soulful tour-de-force comprises a varied repertoire from Schumann’s romantic Fantasiestücke to shorter, cheerful pieces by Debussy and Ravel, yet always showcasing the incredibly wide dynamic range of the instrument. The album also features three Nocturnes by John Field, transcribed for clarinet by Michael McHale, one of the finest Irish pianists of his generation. Very tuneful, these pieces suit the clarinet, perhaps the closest wind instrument to the human voice, remarkably well.

Michael Collins and Michael McHale have developed a strong association, on stage and on record, which adds warmth and passionate engagement to this recording.

“Françaix’s Tema con variazioni stimulates Collins’s virtuosity, seamless line and control of dynamics. It also demonstrates the splendid piano playing of McHale, whose transcription of two John Field Nocturnes further enhances the disc’s attractions.” Sunday Times, 5th June 2016

“Gentle charm unfurls from each movement…Collins’s approach has changed little from his EMI recording. He’s a touch more expansive but his tone is still warm and rounded…[and] Michael McHale is just as responsive” Gramophone Magazine, August 2016

Chandos - CHAN10901

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Schumann: Chamber Music

Schumann: Chamber Music


Schumann:

Andante and Variation for two pianos Op. 46

Vladimir Ashkenazy, Malcolm Frager (pianos), Amaryllis Fleming, Terence Weil (cellos) & Barry Tuckwell (horn)

Study in Canonic Form, Op. 56 No. 4 in A flat major - Innig

Vladimir Ashkenazy, Malcolm Frager (pianos)

Adagio and Allegro in A flat major, Op. 70

Barry Tuckwell (horn) & Vladimir Ashkenazy (piano)

Romances (3), Op. 94

Heinz Holliger (oboe) & Alfred Brendel (piano)

Abendlied (No. 12 from Klavierstücke für kleine und große Kinder, Op. 85)

Heinz Holliger (oboe) & Alfred Brendel (piano)

Fantasiestücke, Op. 73

Franklin Cohen (clarinet) & Vladimir Ashkenazy (piano)

Stücke im Volkston (5), Op. 102

Mstislav Rostropovich (cello) & Benjamin Britten (piano)


Late in the 1840s, Schumann entered a chamber music phase. It was, it is said, motivated partly by financial reasons – creating a body of chamber works that could be played by talented amateurs in their own homes. Many of the works on this disc date from 1849. Significantly, for collectors, one of these – the Andante and Variations – receives its first release on CD and marks Vladimir Ashkenazy’s first recording of chamber music for Decca. The same sessions also included duo piano recordings with Malcolm Frager, from which the Study in Canon Form emanates. Other notable duo collaborations on this disc include Rostropovich and Britten (Fünf Stücke im Volkston), Holliger and Brendel (Drei Romanzen, Abendlied) and Ashkenazy with Tuckwell in the 1974 (Adagio and Allegro) and with Franklin Cohen in 1990 (Fantasiestücke).

“Schumann played by such luminaries as Ashkenazy, Holliger and Brendel, culminating in a spellbinding account by Rostropovich and Britten of the five cello and piano pieces Op. 102.” BBC Music Magazine, August 2013 *****

Australian Eloquence - ELQ4803610

(CD)

$8.50

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Duo: Hélène Grimaud & Sol Gabetta

Duo: Hélène Grimaud & Sol Gabetta


Brahms:

Cello Sonata No. 1 In E Minor, Op. 38

Debussy:

Cello Sonata

Schumann:

Fantasiestücke, Op. 73

Shostakovich:

Cello Sonata in D minor, Op. 40


Hélène Grimaud (piano) & Sol Gabetta (cello)

Two of today's most passionate and inspirational artists join forces in the recital programme that brought audiences to their feet at the Menuhin Festival in Gstaad in Summer 2011. The chemistry between Hélène Grimaud and Sol Gabetta left critics and audiences nothing short of euphoric and this first duo recording captures the revelatory magic of their collaboration

The album reprises the same programme the duo performed in Gstaad:

Robert Schumann’s Fantasiestücke, Claude Debussy’s Sonata for Cello and Piano in D minor, Johannes Brahms Sonata for Cello and Piano No.1 in E minor and Dmitri Shostakovich’s Sonata for Cello and Piano.

Hélène’s recordings have been best-sellers on the Yellow Label with more than 800,000 units sold altogether to date. Sol is also a best-selling, chart-storming artist, who is regarded as one of the great cellists of our day.

“the duo's playful work on Schumann's “Drei Fantasiestücke” bears out both Grimaud's assessment and the pair's shared sensibilities. Brahms' Sonata for Piano and Cello No.1 in E minor, though possessed of more gravitas, is more lightly dealt with than I've heard before, while they bring a questing spirit to Debussy's Sonata for Cello and Piano in D minor” The Independent, 13th October 2012 ***

“Gabetta plays the Schumann Drei Fantasiestücke and Brahms Sonata No 1 mellifluously, without revealing much beneath the surface. Grimaud is ever-attentive, but there’s little sense of two personalities striking sparks.” Financial Times, 3rd November 2012 ****

“their quixotic musical personalities do match; there's a lightness of touch and an element of spontaneityin Gabetta's playing that corresponds to the impulsive aspects of Grimaud's pianism...You wouldn't always want Brahms like this, but it's still worthwhile.” The Guardian, 29th November 2012 ****

“There is a lightness to all the performances that creates an engagingly lyrical sound that is pleasurable to listen to...That this disc falls down a little by way of its great delicacy and slight tentativeness...would not be in any way a criticism to most musical collaborations. That it is to Grimaud and Gabetta is simply testament to their potential as a truly incendiary collaboration.” Gramophone Magazine, January 2013

“Grimaud produces a context of almost orchestral depth and spaciousness into which Gabetta projects her eloquently refined lines...Debussy's riveting Sonata benefits from Grimaud's subtle palette of timbres, and the cellist's willingness to let her sound ring free....[for the Shostakovich] Gabetta finds her vicious streak, with thrilling results in the finale.” BBC Music Magazine, January 2013 ***

DG and Decca Sale

DG - 4790090

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Schumann: Chamber Music

Schumann: Chamber Music


Schumann:

Adagio and Allegro in A flat major, Op. 70

Richard Watkins (horn) & Ian Brown (piano)

Märchenbilder (4), Op. 113

Lawrence Power (viola) & Ian Brown (piano)

Fantasiestücke, Op. 73

Richard Hosford (clarinet) & Ian Brown (piano)

Märchenerzählungen (4) for Clarinet, Viola & Piano, Op. 132

Richard Hosford (clarinet), Lawrence Power (viola) & Ian Brown (piano)

Romances (3), Op. 94

Gareth Hulse (oboe) & Ian Brown (piano)

Violin Sonata No. 1 in A minor, Op. 105

Marianne Thorsen (violin) & Ian Brown (piano)


Among Schumann’s inspired late chamber works is a collection of music for more unusual instruments, composed in a concentrated flurry of creativity between 1849 and 1853 and written specifically for particular players, and it is to these exquisite short works that the world-famous Nash Ensemble turns its impeccable collective musicianship.

While Schumann modelled his music specifically to the timbres of the instruments he wrote for—piano, violin, horn, clarinet and oboe—he also arranged these pieces for alternative instruments with an eye to maximizing sales. Here, however, the soloists from The Nash Ensemble present the works in their original scoring in what are bound to be definitive performances—the delicious Fantasiestücke for clarinet, and the fiery and lyrical Märchenbilder, which feature star British viola player Lawrence Power. Other delights include the Adagio and Allegro for horn, a brilliant showpiece, the Violin Sonata No 1, Drei Romanzen for oboe and piano and the Märchenerzählungen for clarinet, viola and piano.

“The Nash players are British chamber-music royalty, but it is always an especial pleasure to hear the voluptuous viola sound of Lawrence Power in such an eloquent dialogue with Ian Brown’s piano in the too rarely heard Märchenbilder...A gorgeous, unmissable disc of great, too infrequently heard chamber music.” Sunday Times, 29th April 2012

“This is an admirably compilation of consistently fine performances of almost all of Schumann's shorter chamber music for one or two instruments and piano, and as such is most valuable as a collection...The performances throughout...are each beyond criticism. In particularly I admire also the slightly varied balance between the instruments...another fine record from this consistently first-class company.” International Record Review, May 2012

“how thoroughly each one of these performers warms to his or her allotted task (perhaps 'role' would be a better word), though it's violinist Marianne Thorsen and pianist Ian Brown in the Sonata who steal the show. It makes a superb finale to a disc that works equally well whether you sample individual pieces or savour it as a whole.” BBC Music Magazine, July 2012 *****

“affectionate and technically irreproachable performances...The five woodwind and string players of the Nash Ensemble respond ideally to this music - music which surely they have known and loved throughout ther playing lives - and Ian Brown is an ever-sensitive collaborative pianist...Unique and compelling from beginning to end.” Gramophone Magazine, September 2012

Hyperion - CDA67923

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$14.00

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Fantasies for Bassoon

Fantasies for Bassoon


Elgar:

Salut d'amour, Op. 12

arranged for bassoon & piano

Rachmaninov:

Vocalise, Op. 34 No. 14

arranged for bassoon & piano

Schreck:

Sonata in E flat major, Op. 9

Schubert:

Sonata in A minor 'Arpeggione', D821

arranged for bassoon & piano

Schumann:

Fantasiestücke, Op. 73

arranged for bassoon & piano

Spohr:

Adagio in F major for cello and piano, op. 151

arranged for bassoon & piano


Karen Geoghegan (bassoon) & Philip Edward Fisher (piano)

Chandos signed Karen Geoghegan as an exclusive artist in 2007 following her appearance on BBC TV’s Classical Star programme. This is her fifth recording with the label, and the expressive maturity and sensitivity of her playing have quickly cemented her status as a rising star, Gramophone writing: ‘Name five internationally famous bassoon soloists. Archie Camden, Gwydion Brooke and, er, that’s it. Except I think we shall soon be adding the name of Karen Geoghegan to the roll call.’

On this disc, she is accompanied by Philip Edward Fisher in works by some of the greatest composers of the nineteenth and early twentieth centuries: Schubert, Schumann, Spohr, Rachmaninoff, and Elgar. Yet, with a single exception, namely the Sonata in E flat by Gustav Schreck, none of the works recorded here were originally composed for the bassoon.

One of Rachmaninoff’s best-loved short pieces, the Vocalise was written for wordless voice and piano. Demonstrating the capacities of the voice as a pure instrument, this work is a prime example of the power of melody without the need for words. In this arrangement, the bassoon takes on the role of ‘wordless voice’, which shows off the instrument’s great lyrical qualities to perfection, as does Elgar’s Salut d’amour.

Schumann’s Fantasiestücke was originally composed for clarinet and piano, its three pieces played without a break, with each subsequent piece taking up and developing melodic ideas from the preceding one. The Sonata in A minor, D 821 by Schubert, which remained unpublished and unperformed for decades after his death, is an emotionally complex work, its moods moving from deep melancholy to excited ebullience.

“Geoghegan is probably the best advocate the instrument could have: even though parts of the 'Arpeggione' Sonata (usually heard on cello or viola) don't quite work on the bassoon, as the ear adjusts her exemplary musicianship comes through and triumphs...There's a wonderfully natural quality to Geoghegan's phrasing and expression - especially in the Schumann - and she is partnered adeptly at all times by Philip Edward Fisher.” Classic FM Magazine, December 2011 ****

“the most substantial music comes in the transcription of Schubert's Arpeggione Sonata...It would be foolish to expect the bassoon to offer the emotional depth and richness of tone that can be accommodated on a string instrument, but Karen Geoghegan certainly convinces with the melancholic hue of the first movement.” BBC Music Magazine, February 2012 ****

“There is no clowning here. If anything, the bassoon lends a pleasant dolefulness to the music played on this CD...Even the cello...is not as consistently mellow as a bassoon, when it is played by a musician on Geoghegan's level.” International Record Review, January 2012

Chandos - CHAN10703

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$14.00

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Schumann - Music for cello and piano

Schumann - Music for cello and piano


Schumann:

Fantasiestücke, Op. 73

Adagio and Allegro in A flat major, Op. 70

Violin Sonata No. 3 in A minor, WoO 27

arranged by Steven Isserlis

Abendlied (No. 12 from Klavierstücke für kleine und große Kinder, Op. 85)

Romances (3), Op. 94

Stücke im Volkston (5), Op. 102


‘There is no composer to whom I feel closer than to Schumann. He has been a beloved friend since I was a child; I remain as fascinated today as I was then by his unique blend of poetry, ecstatic strength and confessional intimacy.’ Steven Isserlis’s own words give the background to this fascinating disc.

Schumann’s affection for the cello ran deep. It was an instrument he had played in his youth, and considered taking up again when, at the age of twenty-two, an accident to his hand forced him to relinquish his dream of being a virtuoso pianist. ‘I want to take up the violoncello again (one needs only the left hand for this) and it will be very useful to me in composing symphonies’, he wrote to his mother. The sound of the cello played without the right hand would have been somewhat minimalist; but his love for the instrument is clearly demonstrated by the cello parts in all four of his symphonies, as well as in the concertos for piano and violin, and of course throughout his chamber music. As the great musicologist Donald Francis Tovey put it: ‘The qualities of the violoncello are exactly those of the beloved dreamer whom we know as Schumann.’

“Isserlis’s passion for Schumann overcomes the composer’s threadbare cello repertoire with this selection of works. But Abendlied still charms, an octave down, and the Stücke im Volkston is a blast of untranscribed Technicolor, picked out with vigour, charisma and delicacy.” The Times, 28th February 2009 ***

“This music sings and soars, flying to the instrument's highest reaches with dreamy eloquence and a sense of rightness, even though some of the works were intended for other instruments...with pianist Dénes Várjon as equal partner, [Isserlis] plays with fierceness and soul.” The Observer, 21st February 2009

“The really exciting performance here is Steven Isserlis's transcription of Schumann's valedictory Third Sonata: it's as if he's been preparing all his life to launch into its dark storm. This fabulously virtuosic and psychologically complex work forces his musicianship up to a new level. It's full of fiendish passages, lying extremely awkwardly on the instrument, but, even in the Finale, Isserlis masters these explosive flourishes and has the vital impetus to make an eccentric work feel whole.” BBC Music Magazine, April 2009 *****

“Perhaps the most ravishing item on the disc is the poignant Abendlied, arranged by Joachim from its piano duet form but then further borrowed by Isserlis, playing it down an octave. In his hands it's as moving a wordless Lied as anything you could imagine. For all that Isserlis has made many wonderful recordings, not least his seminal Bach Suites, I think this might just be his finest yet, with warmly detailed sound... and a typically acute note from the cellist himself.” Gramophone Magazine, May 2009

“If the Five Pieces in Folk Mode, Op 102, actually written for the cello, stand out from the rest, the whole programme is a delight, as both artists catch the music’s poetic ebb and flow to perfection” Sunday Times, 15th March 2009 ****

“Steven Isserlis has long been a stalwart champion of Schumann, through his advocacy of not only the often-maligned Concerto but also the chamber works. For this disc he has had to beg, borrow and steal but the results absolutely justify the means.
In the wrong hands, a work such as the Fantasiestücke, Op 73 (which Isserlis plays in its earliest incarnation), can sound a touch seasick, with too much swelling through every phrase, and a loss of the overall shape as a result. But how well Isserlis paces everything; some of his tempi are quite spacious but this gives the music a wonderfully considered and luxuriant aspect; the results never ever sound contrived. That's partly to do with Isserlis's sound (extravagantly he uses not one but two Strads on this recording), which has a very focused centre to it, but also his utterly innate relationship with pianist Dénes Várjon.
Perhaps the most ravishing item on the disc is the poignant Abendlied, arranged by Joachim from its piano duet form but then further borrowed by Isserlis, playing it down an octave. In his hands it's as moving a wordless Lied as anything you could imagine.
The substantial work here, though, is the Third Violin Sonata. Two of its movements – the Intermezzo and finale – originated in the multi-composer 'FAE' Sonata written for Joachim (for which Brahms famously wrote the Scherzo). Schumann later added two more movements to form his last large-scale work. It decisively refutes the theory that he had – metaphorically and literally – lost the plot by this stage. While it certainly doesn't conform to standard 19th-century sonata form, in Isserlis's hands it's a work of compelling power, whether in the terrifying scherzo sections of the second movement or the dreamy Intermezzo, a muchneeded point of repose in a work of great tumult.
The disc ends with the Fünf Stücke im Volkston, and finds Schumann in a more folky idiom. Too often these pieces can sound like an awkward amalgam of styles, but Isserlis again is utterly inside them, revealing Schumann's innovation even at this late stage, from the edginess of the first, via the tender, Brahmsian second one to the spirited fifth piece, where Mendelssohn collides with Bartók.
For all that Isserlis has made many wonderful recordings, not least his seminal Bach Suites, this might just be his finest yet, with warmly detailed sound and a typically acute note from the cellist himself.”
Gramophone Classical Music Guide, 2010

“For any collector wishing to explore Schumann's music for cello and piano, Isserlis and Varjon are the obvious partnership of choice, and it is hard to imagine such superlative performances being easily matched, even less displaced.” International Record Review, July/August 2011

GGramophone Magazine

Editor's Choice - May 2009

Hyperion - CDA67661

(CD)

$14.00

In stock - usually despatched within 1 working day.

Steven Isserlis - Schumann: Fantasiestücke

Steven Isserlis - Schumann: Fantasiestücke


Schumann:

Fantasiestücke, Op. 73

Cello Masterclass from The International Musicians' Seminar, Prussia Cove


Steven Isserlis, one of the world's outstanding cellists, is a musician known for his strong ideas and passionate convictions about music. A champion of the works of Schumann, he also gets satisfaction in discovering and introducing into the repertoire works by lesser known composers which he considers deserve a wider audience. As well as giving concerts and recitals throughout the world, he is much sought after as a teacher. He is Artistic Director of the International Musicians' Seminar at Prussia Cove in Cornwall UK, the world-renowned residential workshop for talented young musicians, started by Hilary Behrens and the legendary Sandor Vegh.

In this masterclass, he works on the Robert Schumann's Fantasiestücke, a group of three "Fantasy Pieces" originally written for clarinet and piano but later arranged for cello and piano by Schumann himself.

DVD Video

Region: 0

Format: NTSC

Masterclass Media Foundation - MMF017

(DVD Video)

$20.50

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Cello Recital: Hai-Ye Ni

Cello Recital: Hai-Ye Ni


Beethoven:

Variations (7) on "Bei Männern, welche Liebe fühlen", for Cello and Piano, WoO 46

Mendelssohn:

Cello Sonata No. 2 in D major, Op. 58

Popper:

Dance of the Elves, Op. 39

Schubert:

Sonata in A minor 'Arpeggione', D821

Schumann:

Fantasiestücke, Op. 73


Helene Jeanney (piano), Hai Ye Ni (cello)

Naxos Laureate Series - 8554356

(CD)

$6.75

(also available to download from $7.00)

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