Professional Documents
Culture Documents
Alexander Kostritsa
Fedor Amosov
2
15
Alexander Kostritsa
Alexander Kostritsa was born into a musical family in Moscow and started his piano
lessons at the age of six. He received his Bachelor and Master of Music degrees from
the Moscow Tchaikovsky Conservatory, and his Doctor of Musical Arts degree from
the Cleveland Institute of Music. Alexander Kostritsa is a prizewinner of international
piano competitions, including the Premio Rovere dOro (Italy, 2007, 1st prize), the
Slavic Music Festival (Ukraine, 2007, laureate), and the Paul Badura-Skoda (Spain,
2010, finalist). He made his international dbut when he was eight years old with
a concert tour to Japan. Since then he has been performing as a soloist in Italy,
France, Germany, Spain, South Korea, and the United States. He has appeared with
the Moscow Chamber Orchestra The Seasons, the Kursk University Orchestra,
the Vidin Philharmonic and other orchestras. He studied with Mikhail Petukhov in
Moscow and with Antonio Pompa-Baldi in Cleveland.
Natsumi Shibagaki
The Japanese pianist Natsumi Shibagaki currently makes her home in Cleveland,
Ohio. She moved to the United States when she was eighteen to attend the
Interlochen Arts Academy in Traverse City, Michigan. She received both Bachelor
and Master of Music degrees in solo piano performance from the San Francisco
Conservatory of Music, as a student of Mack McCray, and has participated in
numerous competitions and international music festivals since arriving in America.
14
18 Danses
33:40
03:09
02:18
03:01
03:57
01:26
01:58
01:28
00:50
00:46
00:35
00:44
00:46
01:11
00:48
01:02
01:22
01:14
07:05
24 Mazurkas
13:57
(
)
a
b
Mazurka No. 1
Mazurka No. 2
Mazurka No. 3
Mazurka No. 4
Mazurka No. 5
Mazurka No. 6
Mazurka No. 7
Mazurka No. 8
Mazurka No. 9
Mazurka No. 10
Mazurka No. 11
Mazurka No. 12
Mazurka No. 13
Mazurka No. 14
Mazurka No. 15
Mazurka No. 16
Mazurka No. 17
Mazurka No. 18
Mazurka No. 19
Mazurka No. 20
Mazurka No. 21
Mazurka No. 22
Mazurka No. 23
Mazurka No. 24
00:38
00:54
00:48
00:41
00:32
00:33
00:40
00:36
00:34
00:37
00:17
00:39
00:31
00:31
00:33
00:30
00:53
00:39
00:38
00:31
00:16
00:13
00:22
00:51
Die enorme Menge an Liedern ohne Worte, die Mendelssohn selbst geschrieben
hat, ist ein deutlicher Hinweis darauf, dass er um den unstillbaren Hunger nach
pianistischer Hausmusik wusste; doch die bloe Weite und das Spektrum seines
schpferischen Genies zeigt, dass er sich nie als reiner Salonkomponist htte
einordnen lassen. Demgegenber produzierte Maria Szymanowska bedenkenlos
fast all ihre Musik fr den Salon.
Ende des 19. Jahrhunderts war der Begriff der Salonmusik zum unmissverstndlichen
Synonym fr Dilettantismus und Massenkonsum geworden. In den frheren
Jahrzehnten jedoch waren ihre entscheidenden Merkmale Eleganz und Raffinement,
und diese Qualitten zeigen sich auf bewundernswerte Weise in den attraktiven
Tanzkollektionen, worin Maria Szymanowska Polonaisen, Walzer, Mazurkas,
Quadrillen und Kontretnze sowie ungewhnlichere Typen (Cotillons, Anglaises
u.a.) verffentlichte. Insgesamt handelt es sich bei diesen Tnzen vorwiegend um
vergngliche, leichtgewichtige Stcke von genau jenem Grad an knstlerischem
Einfallsreichtum, der ntig war, um in den damaligen Salons der Aristokratie zu
gefallen. Nur gelegentlich sind die technischen Anforderungen um einiges hher
wie etwa in der Polonaise Nr. 4 f-moll (einer bung in Terzen und Sexten), whrend
Maria Szymanowska in der Mazurka Nr. 17 C-dur dunklere Momente andeutet, die
vorbergehend nach dem proto-romantischen Sturm und Drang der 1760-er Jahre
duften mithin aus der Zeit des jungen Goethe.
Anthony Short
Deutsche Fassung: Cris Posslac
13
12
6 Minuets
16:22
02:36
02:34
02:13
02:28
03:42
02:29
02:33
Danse polonaise
03:39
04:09
Warschau verlor damals mehr und mehr an Bedeutung, und 1795 wurde bei der
dritten polnischen Teilung das gesamte Territorium des Landes von Russland,
Preuen und sterreich absorbiert. Infolgedessen lieen sich viele vertriebene
Dichter, Politiker, Autoren, bildende Knstler und Musiker im Ausland, namentlich
in Frankreich nieder. Eine groe Rolle spielten diese Gestalten dann zu Beginn
des 19. Jahrhunderts bei der Entstehung der polnischen Romantik, als deren
musikalischer Gigant sich dann Chopin erhob.
Die junge Maria Woowska erwies sich in musikalischer Hinsicht als uerst frhreif
und war schon bald die Sensation der Warschauer Salons. Man beschloss, sie nach
Paris zu schicken, auf dass sie ihren musikalischen Horizont erweitere, und sie wurde
noch berhmter: In der franzsischen Hauptstadt beeindruckte sie solche Gren
wie Gioachino Rossini und Luigi Cherubini (der ihr eine Klavierfantasie widmete).
Wieder in Polen, heiratete sie 1810 den reichen Gutsbesitzer Jzef Szymanowski,
und bald gab es drei Kinder (die Tochter Celina wurde die Frau des polnischen
Nationaldichters Adam Mickiewicz). Doch den Szymanowskis war kein Glck
beschieden. 1820 kam es zur Scheidung. Maria, die bereits 1815 ihre internationale
Karriere wieder aufgenommen hatte, behielt aus beruflichen Grnden den
Ehenamen bei und unternahm eine Reihe sehr ausgedehnter Reisen, in deren
Verlauf sie sowohl in privaten Kreisen als auch ffentlich auftrat. Als sie Goethe
1823 kennenlernte, hatte sie soeben eine dreijhrige Tournee angetreten. Unter
anderem gewhrte ihr die britische Knigsfamilie eine Audienz. 1828 kam sie nach
Russland, wo sie zur Ersten Pianistin des Zarenhofes befrdert wurde. Im Sommer
1831 fiel sie einer Cholera-Epidemie zum Opfer, die in St. Petersburg wtete. Maria
Szymanowska starb am 25. Juli im Alter von 41 Jahren.
Mit ihren Kompositionen, von denen sich Berufsmusiker und Amateure gleichermaen
angezogen fhlten, spielte Maria Szymanowska eine wichtige Rolle in der
11
Maria Szymanowska
Smtliche Tnze fr Klavier
Im Sommer 1823 begab sich der betagte Johann Wolfgang von Goethe zur Kur
ins bhmische Marienbad, wo er sich in eine wunderschne Pianistin namens
Maria Szymanowska verliebte. Ihr Klavierspiel inspirierte ihn zu dem dreistrophigen
Gedicht Ausshnung, das er ihr widmete. Die letzte Zeile Das Doppelglck der
Tne wie der Liebe lsst erkennen, dass Goethe von den krperlichen Reizen der
Szymanowska ebenso berhrt war wie von ihrem uerst ergreifenden Musizieren.
Maria Szymanowska, die Goethe am 18. August 1823 in einem Brief an seine
Tochter Ottilie als die zierliche Tonallmchtige apostrophierte, kam 1789 in
Warschau als Marianna Agata Woowska zur Welt. Die ursprnglich jdische
Familie war zum Katholizismus bergetreten, und der Vater, ein erfolgreicher
Brauereibesitzer, war ein Mann von kultiviertem Geschmack: Sein Haus stand den
patriotischen polnischen Intellektuellen und knstlerischen Persnlichkeiten aus
anderen Teilen Europas stets offen. Zu den zahlreichen Musikern, die bei Woowski
ein- und ausgingen, zhlten die Geiger Karol Lipiski und Pierre Rode sowie
Chopins knftiger Lehrer Jzef Elsner.
10
At this time Warsaw was declining in importance, and by 1795, after the Third
Partition of Poland, all the countrys former territory had been absorbed by
Russia, Prussia and Austria. As a consequence many displaced poets, politicians,
writers, artists and musicians settled in foreign lands, especially France. In the early
nineteenth century these individuals would play a major part in establishing the
notion of Polish Romanticism, in which Chopin rose as the supreme musical giant.
The young Maria Woowska displayed extraordinary musical precocity and she
quickly became a sensation in the Warsaw salons. To broaden her musical horizons,
it was decided to send her to Paris, where her fame spread. There she impressed
such luminaries as the composers Gioachino Rossini and Luigi Cherubini (who
dedicated a piano fantasia to her).
After her return to Poland in 1810 she married Jzef Szymanowski, a wealthy
landowner, and before long there were three children (one of whom, Celina,
later married Adam Mickiewicz, Polands national poet). The Szymanowskis
marriage was not successful and it ended in divorce in 1820. Maria (who retained
her married name for professional purposes) resumed her international career
in 1815 and undertook some very long tours that included both private and
public performances. It was during an arduous three-year tour of western Europe
between 1823 and 1826 that she first met Goethe. She also had an audience with
the British royal family, and in 1828 travelled to Russia, where she was employed by
the imperial court as First Pianist to the empress. During the summer of 1831 Maria
Szymanowska succumbed to a cholera epidemic that swept St Petersburg, and she
died on 25th July, aged 41.
Through her own compositions, which appealed to professionals and amateurs
alike, Szymanowska played an important part in the early development of that
quintessentially Romantic musical phenomenon: the pianist-composer. She was
greatly admired by her contemporaries, and her recitals routinely included works
by living composers such as Hummel and Beethoven (whose Bagatelle in B flat,
WoO 60, is dedicated to her). The influential Czech composer and teacher Vclav
Tomek, who counted Beethoven and Goethe among his acquaintances, praised
the clarity and attack of Szymanowskas keyboard technique, and he also wrote
enthusiastically of her inspirational performance style. Surviving documentation
suggests that her professional relationship with other pianist-composers was a
strong one based on mutual trust and respect. John Field, for example, wrote to
the Leipzig publishers Breitkopf and Hrtel warmly recommending that they add
Szymanowskas name to their roster of celebrated composers. The dedication of
her Caprice sur la romance de Joconde pour le Pianoforte (1819) to Monsieur John
Field, supports the assertion that Szymanowska considered him a close friend.
But not everyone appreciated her. There was the occasional lone voice of
opposition. The most important of these was surely the youthfully opinionated Felix
Mendelssohn, who cockily advised Szymanowskas admirers to think more of her
pretty face than of her not too pretty playing. Although Mendelssohns own sister
Fanny was a highly accomplished composer in her own right, it remains possible
that the emergence of other talented female pianist-composers from the salons
made Felix uncomfortable, especially when they found conspicuous success with
the general public. Mendelssohns disregard for Szymanowska might well have
stemmed from a dislike of her particular artistic circle. He had, after all, earlier
described Szymanowskas mentor, Luigi Cherubini, as an extinct volcano, still
throwing out occasional sparks and flashes, but quite covered in ashes and stones.
The immense quantity of Mendelssohns own Songs Without Words provides
ample evidence that he recognised the publics insatiable appetite for domestic
piano music, yet the sheer breadth and scope of his creative genius means he can
never be categorised solely as a salon composer. On the other hand Szymanowska
unashamedly produced almost all her music for the salon.
By the end of the nineteenth century salon music had become strongly associated
with dilettantism and mass consumerism, but in earlier decades its defining
characteristics were elegance and refinement. These qualities are admirably
displayed in Szymanowskas attractive collections of dances, which include
polonaises, waltzes, mazurkas, quadrilles and contredanses (in addition to more
unusual types such as cotillions and anglaises). Taken collectively, these dances
are, for the most part, pleasing and light, with precisely the degree of imaginative
artistic inventiveness needed to appeal to the aristocratic salons of the day. Just
occasionally, as in the Polonaise No. 4 in F minor (an exercise in thirds and sixths),
the technical demands are rather more demanding, while in the Mazurka No.17 in
C Szymanowska hints at darker moments that are fleetingly redolent of the protoRomantic Sturm und Drang music from the late 1760s the period of Goethes
youth.
Anthony Short
greatly admired by her contemporaries, and her recitals routinely included works
by living composers such as Hummel and Beethoven (whose Bagatelle in B flat,
WoO 60, is dedicated to her). The influential Czech composer and teacher Vclav
Tomek, who counted Beethoven and Goethe among his acquaintances, praised
the clarity and attack of Szymanowskas keyboard technique, and he also wrote
enthusiastically of her inspirational performance style. Surviving documentation
suggests that her professional relationship with other pianist-composers was a
strong one based on mutual trust and respect. John Field, for example, wrote to
the Leipzig publishers Breitkopf and Hrtel warmly recommending that they add
Szymanowskas name to their roster of celebrated composers. The dedication of
her Caprice sur la romance de Joconde pour le Pianoforte (1819) to Monsieur John
Field, supports the assertion that Szymanowska considered him a close friend.
But not everyone appreciated her. There was the occasional lone voice of
opposition. The most important of these was surely the youthfully opinionated Felix
Mendelssohn, who cockily advised Szymanowskas admirers to think more of her
pretty face than of her not too pretty playing. Although Mendelssohns own sister
Fanny was a highly accomplished composer in her own right, it remains possible
that the emergence of other talented female pianist-composers from the salons
made Felix uncomfortable, especially when they found conspicuous success with
the general public. Mendelssohns disregard for Szymanowska might well have
stemmed from a dislike of her particular artistic circle. He had, after all, earlier
described Szymanowskas mentor, Luigi Cherubini, as an extinct volcano, still
throwing out occasional sparks and flashes, but quite covered in ashes and stones.
The immense quantity of Mendelssohns own Songs Without Words provides
ample evidence that he recognised the publics insatiable appetite for domestic
piano music, yet the sheer breadth and scope of his creative genius means he can
never be categorised solely as a salon composer. On the other hand Szymanowska
unashamedly produced almost all her music for the salon.
By the end of the nineteenth century salon music had become strongly associated
with dilettantism and mass consumerism, but in earlier decades its defining
characteristics were elegance and refinement. These qualities are admirably
displayed in Szymanowskas attractive collections of dances, which include
polonaises, waltzes, mazurkas, quadrilles and contredanses (in addition to more
unusual types such as cotillions and anglaises). Taken collectively, these dances
are, for the most part, pleasing and light, with precisely the degree of imaginative
artistic inventiveness needed to appeal to the aristocratic salons of the day. Just
occasionally, as in the Polonaise No. 4 in F minor (an exercise in thirds and sixths),
the technical demands are rather more demanding, while in the Mazurka No.17 in
C Szymanowska hints at darker moments that are fleetingly redolent of the protoRomantic Sturm und Drang music from the late 1760s the period of Goethes
youth.
Anthony Short
Maria Szymanowska
Smtliche Tnze fr Klavier
Im Sommer 1823 begab sich der betagte Johann Wolfgang von Goethe zur Kur
ins bhmische Marienbad, wo er sich in eine wunderschne Pianistin namens
Maria Szymanowska verliebte. Ihr Klavierspiel inspirierte ihn zu dem dreistrophigen
Gedicht Ausshnung, das er ihr widmete. Die letzte Zeile Das Doppelglck der
Tne wie der Liebe lsst erkennen, dass Goethe von den krperlichen Reizen der
Szymanowska ebenso berhrt war wie von ihrem uerst ergreifenden Musizieren.
Maria Szymanowska, die Goethe am 18. August 1823 in einem Brief an seine
Tochter Ottilie als die zierliche Tonallmchtige apostrophierte, kam 1789 in
Warschau als Marianna Agata Woowska zur Welt. Die ursprnglich jdische
Familie war zum Katholizismus bergetreten, und der Vater, ein erfolgreicher
Brauereibesitzer, war ein Mann von kultiviertem Geschmack: Sein Haus stand den
patriotischen polnischen Intellektuellen und knstlerischen Persnlichkeiten aus
anderen Teilen Europas stets offen. Zu den zahlreichen Musikern, die bei Woowski
ein- und ausgingen, zhlten die Geiger Karol Lipiski und Pierre Rode sowie
Chopins knftiger Lehrer Jzef Elsner.
10
At this time Warsaw was declining in importance, and by 1795, after the Third
Partition of Poland, all the countrys former territory had been absorbed by
Russia, Prussia and Austria. As a consequence many displaced poets, politicians,
writers, artists and musicians settled in foreign lands, especially France. In the early
nineteenth century these individuals would play a major part in establishing the
notion of Polish Romanticism, in which Chopin rose as the supreme musical giant.
The young Maria Woowska displayed extraordinary musical precocity and she
quickly became a sensation in the Warsaw salons. To broaden her musical horizons,
it was decided to send her to Paris, where her fame spread. There she impressed
such luminaries as the composers Gioachino Rossini and Luigi Cherubini (who
dedicated a piano fantasia to her).
After her return to Poland in 1810 she married Jzef Szymanowski, a wealthy
landowner, and before long there were three children (one of whom, Celina,
later married Adam Mickiewicz, Polands national poet). The Szymanowskis
marriage was not successful and it ended in divorce in 1820. Maria (who retained
her married name for professional purposes) resumed her international career
in 1815 and undertook some very long tours that included both private and
public performances. It was during an arduous three-year tour of western Europe
between 1823 and 1826 that she first met Goethe. She also had an audience with
the British royal family, and in 1828 travelled to Russia, where she was employed by
the imperial court as First Pianist to the empress. During the summer of 1831 Maria
Szymanowska succumbed to a cholera epidemic that swept St Petersburg, and she
died on 25th July, aged 41.
Through her own compositions, which appealed to professionals and amateurs
alike, Szymanowska played an important part in the early development of that
quintessentially Romantic musical phenomenon: the pianist-composer. She was
Warschau verlor damals mehr und mehr an Bedeutung, und 1795 wurde bei der
dritten polnischen Teilung das gesamte Territorium des Landes von Russland,
Preuen und sterreich absorbiert. Infolgedessen lieen sich viele vertriebene
Dichter, Politiker, Autoren, bildende Knstler und Musiker im Ausland, namentlich
in Frankreich nieder. Eine groe Rolle spielten diese Gestalten dann zu Beginn
des 19. Jahrhunderts bei der Entstehung der polnischen Romantik, als deren
musikalischer Gigant sich dann Chopin erhob.
Die junge Maria Woowska erwies sich in musikalischer Hinsicht als uerst frhreif
und war schon bald die Sensation der Warschauer Salons. Man beschloss, sie nach
Paris zu schicken, auf dass sie ihren musikalischen Horizont erweitere, und sie wurde
noch berhmter: In der franzsischen Hauptstadt beeindruckte sie solche Gren
wie Gioachino Rossini und Luigi Cherubini (der ihr eine Klavierfantasie widmete).
Wieder in Polen, heiratete sie 1810 den reichen Gutsbesitzer Jzef Szymanowski,
und bald gab es drei Kinder (die Tochter Celina wurde die Frau des polnischen
Nationaldichters Adam Mickiewicz). Doch den Szymanowskis war kein Glck
beschieden. 1820 kam es zur Scheidung. Maria, die bereits 1815 ihre internationale
Karriere wieder aufgenommen hatte, behielt aus beruflichen Grnden den
Ehenamen bei und unternahm eine Reihe sehr ausgedehnter Reisen, in deren
Verlauf sie sowohl in privaten Kreisen als auch ffentlich auftrat. Als sie Goethe
1823 kennenlernte, hatte sie soeben eine dreijhrige Tournee angetreten. Unter
anderem gewhrte ihr die britische Knigsfamilie eine Audienz. 1828 kam sie nach
Russland, wo sie zur Ersten Pianistin des Zarenhofes befrdert wurde. Im Sommer
1831 fiel sie einer Cholera-Epidemie zum Opfer, die in St. Petersburg wtete. Maria
Szymanowska starb am 25. Juli im Alter von 41 Jahren.
Mit ihren Kompositionen, von denen sich Berufsmusiker und Amateure gleichermaen
angezogen fhlten, spielte Maria Szymanowska eine wichtige Rolle in der
11
12
6 Minuets
16:22
02:36
02:34
02:13
02:28
03:42
02:29
02:33
Danse polonaise
03:39
04:09
24 Mazurkas
13:57
(
)
a
b
Mazurka No. 1
Mazurka No. 2
Mazurka No. 3
Mazurka No. 4
Mazurka No. 5
Mazurka No. 6
Mazurka No. 7
Mazurka No. 8
Mazurka No. 9
Mazurka No. 10
Mazurka No. 11
Mazurka No. 12
Mazurka No. 13
Mazurka No. 14
Mazurka No. 15
Mazurka No. 16
Mazurka No. 17
Mazurka No. 18
Mazurka No. 19
Mazurka No. 20
Mazurka No. 21
Mazurka No. 22
Mazurka No. 23
Mazurka No. 24
00:38
00:54
00:48
00:41
00:32
00:33
00:40
00:36
00:34
00:37
00:17
00:39
00:31
00:31
00:33
00:30
00:53
00:39
00:38
00:31
00:16
00:13
00:22
00:51
Die enorme Menge an Liedern ohne Worte, die Mendelssohn selbst geschrieben
hat, ist ein deutlicher Hinweis darauf, dass er um den unstillbaren Hunger nach
pianistischer Hausmusik wusste; doch die bloe Weite und das Spektrum seines
schpferischen Genies zeigt, dass er sich nie als reiner Salonkomponist htte
einordnen lassen. Demgegenber produzierte Maria Szymanowska bedenkenlos
fast all ihre Musik fr den Salon.
Ende des 19. Jahrhunderts war der Begriff der Salonmusik zum unmissverstndlichen
Synonym fr Dilettantismus und Massenkonsum geworden. In den frheren
Jahrzehnten jedoch waren ihre entscheidenden Merkmale Eleganz und Raffinement,
und diese Qualitten zeigen sich auf bewundernswerte Weise in den attraktiven
Tanzkollektionen, worin Maria Szymanowska Polonaisen, Walzer, Mazurkas,
Quadrillen und Kontretnze sowie ungewhnlichere Typen (Cotillons, Anglaises
u.a.) verffentlichte. Insgesamt handelt es sich bei diesen Tnzen vorwiegend um
vergngliche, leichtgewichtige Stcke von genau jenem Grad an knstlerischem
Einfallsreichtum, der ntig war, um in den damaligen Salons der Aristokratie zu
gefallen. Nur gelegentlich sind die technischen Anforderungen um einiges hher
wie etwa in der Polonaise Nr. 4 f-moll (einer bung in Terzen und Sexten), whrend
Maria Szymanowska in der Mazurka Nr. 17 C-dur dunklere Momente andeutet, die
vorbergehend nach dem proto-romantischen Sturm und Drang der 1760-er Jahre
duften mithin aus der Zeit des jungen Goethe.
Anthony Short
Deutsche Fassung: Cris Posslac
13
Alexander Kostritsa
Alexander Kostritsa was born into a musical family in Moscow and started his piano
lessons at the age of six. He received his Bachelor and Master of Music degrees from
the Moscow Tchaikovsky Conservatory, and his Doctor of Musical Arts degree from
the Cleveland Institute of Music. Alexander Kostritsa is a prizewinner of international
piano competitions, including the Premio Rovere dOro (Italy, 2007, 1st prize), the
Slavic Music Festival (Ukraine, 2007, laureate), and the Paul Badura-Skoda (Spain,
2010, finalist). He made his international dbut when he was eight years old with
a concert tour to Japan. Since then he has been performing as a soloist in Italy,
France, Germany, Spain, South Korea, and the United States. He has appeared with
the Moscow Chamber Orchestra The Seasons, the Kursk University Orchestra,
the Vidin Philharmonic and other orchestras. He studied with Mikhail Petukhov in
Moscow and with Antonio Pompa-Baldi in Cleveland.
Natsumi Shibagaki
The Japanese pianist Natsumi Shibagaki currently makes her home in Cleveland,
Ohio. She moved to the United States when she was eighteen to attend the
Interlochen Arts Academy in Traverse City, Michigan. She received both Bachelor
and Master of Music degrees in solo piano performance from the San Francisco
Conservatory of Music, as a student of Mack McCray, and has participated in
numerous competitions and international music festivals since arriving in America.
14
18 Danses
33:40
03:09
02:18
03:01
03:57
01:26
01:58
01:28
00:50
00:46
00:35
00:44
00:46
01:11
00:48
01:02
01:22
01:14
07:05
Alexander Kostritsa
Fedor Amosov
2
15
SZYMANOWSKA
GP660
GP671
GP636
GP661
MARIA SZYMANOWSKA
33:40
(-b 24 MAZURKAS
13:57
c-h 6 MINUETS
16:22
47313 96852 7
02:33
DANSE POLONAISE
03:39
04:09
TOTAL TIME: 74:00
GP685
GP685
GP685
ALEXANDER KOSTRITSA
1-* 18 DANSES