Stretta |

Stretta, jidka

Talyaani. stretta, stretto, laga bilaabo stringere - si loo cadaadiyo, la yareeyo, loo gaabiyo; German Eng, gedrängt - kooban, dhow, Engfuhrung - haynta kooban

1) Qabashada jilitaanka (1) cod badan. Mawduucyada, oo lagu garto hordhaca codka ama codadka ku dayanaya ka hor dhammaadka mawduuca ee codka bilowga; si guud ahaan, hordhaca ku dayashada ah ee mawduuca leh masaafo hordhac ka gaaban marka loo eego jilitaanka asalka ah. S. waxaa loo samayn karaa qaab ku dayasho fudud, halkaas oo mawduuca ka kooban yahay isbeddellada laxanka. sawiridda ama waxaa loo sameeyaa si aan dhammaystirnayn (eeg a, b tusaalaha hoose), iyo sidoo kale qaabka canonical. ku dayasho, canon (eeg c, d isla tusaalahaas). Muuqaal sifo ah oo ka mid ah soo bixitaanka S. waa gaaban ee fogaanta gelitaanka, taas oo si cad u dhegta, taas oo go'aamisa xoojinta ku dayashada, dardargelinta habka lakabka polyphonic. codadka

JS Bach. Hordhac iyo Fugue in f yar ee xubinta, BWV 534.

PI Tchaikovsky. Suite No 1 ee orchestra. Fugue.

P. Hindemith Ludus tonalis. Fuga secunda ee G.

IS Bax. Clavier-ka si fiican u xanaaqsan, Volume 2. Fugue D-dur.

S. waa ka hortag. Habka dhumuc iyo cufan ee dhawaaqa, soo dhaweyn aad u waxtar leh. fiirsashada; Tani waxay go'aaminaysaa qaninimadeeda gaarka ah - waxay muujin doontaa waxa ugu muhiimsan. tayada C. Waxaa si weyn loo isticmaalaa decomp. foomamka cod badan (iyo sidoo kale qaybaha polyphonized ee foomamka khaniisinta), ugu horrayn fugue, ricercare. Fugue S., marka hore, mid ka mid ah kuwa ugu waaweyn. ka kooban "dhismaha" xubno ay la socdaan mawduuca, mucaaradka, dhexda. Marka labaad, S. waa farsamo u adeegta si ay u muujiso nuxurka mawduuca sida muuska hormuudka ah. Fikradaha ku jira habka geynta iyo isla mar ahaantaana calaamadeynaya waqtiyada muhiimka ah ee wax-soo-saarka, ie, noqoshada wadista iyo isla mar ahaantaana hagaajinta factor polyphonic. qaab (midnimo ahaan "noqoshada" iyo "noqoshada"). Fugue, S. waa ikhtiyaari. Bach's Well-Tempered Clavier (hadda hadda ka dib loo soo gaabiyo "HTK"), waxay ku dhacdaa qiyaastii kala badh fugues. S. waa ka maqan yahay inta badan halka uu makhluuqa ku jiro. doorka waxaa lagu ciyaaraa tonal (tusaale ahaan, e-moll fugue laga soo bilaabo mugga 1aad ee "HTK" - kaliya muuqaal S. ee cabbirada 39-40), ama contrapuntal. horumarinta la fuliyay marka lagu daro S. (tusaale ahaan, in fugue c-moll ka mugga 1st, halkaas oo nidaamka xeryahooda derivative la sameeyay in interludes iyo conductions of theme la counterpositions sii hayo). Fugues, halkaas oo xilliga horumarinta tonal la xoojiyay, segue, haddii ay jiraan, badanaa waxay ku yaalaan qaybo xasilloon oo tonal ah oo inta badan lagu daraa cirifka, iyada oo xoogga saaraysa. Sidaa darteed, f-moll fugue oo ka soo jeeda mugga 2-aad (saddex-qaybood oo leh xiriirka sonata ee furayaasha), S. wuxuu ku dhawaaqaa kaliya gabagabada. qaybo; qaybta soo koraysa ee fugue ee g-moll laga bilaabo mugga 1aad (bar 17), S. waa mid aan la dafiri karin, halka 3-gool. S. (cabirka 28) wuxuu sameeyaa dhamaadka runta ah; fugue saddex qaybood ah oo ku yaal C-dur op. 87 No 1 waxaa qoray Shostakovich oo leh is-waafajintiisa gaarka ah. Horumarka S. waxa lagu soo bandhigay oo kaliya aargoosi: kii 1aad oo ka soo horjeedka labaad la sii hayo, ka 2aad oo leh barokac toosan (eeg barta Movable). Horumarinta tonal kama saarayso isticmaalka S., si kastaba ha ahaatee, liddi ku ah. Dabeecadda S. ayaa go'aamisa doorkeeda muhiimka ah ee fugues kaas oo ujeeddada curiyaha ay ku lug leedahay is-hortaag adag. horumarinta walxaha (tusaale ahaan, fugues C-dur iyo dis-moll laga bilaabo mugga 1aad ee "HTK", c-moll, Cis-dur, D-dur oo ka soo jeeda mugga 2aad). Iyaga, S. waxay ku yaalliin qayb kasta oo foomka ah, oo aan ka reebin muujinta (E-dur fugue ee mugga 1st, No 7 ee Bach's Art of Fugue - S. ballaaran iyo wareegga). Fugues, muujinta-rykh waxaa loo sameeyay qaabka S., waxaa loo yaqaan 'stretta'. Hordhacyada laba-geesoodka ah ee ku yaal stretta fugue ee Bach's 2nd motet (BWV 226) waxay xasuusinayaan ku-dhaqankii sayidyadii adkaa ee si weyn u isticmaali jiray bandhiggaas (tusaale, Kyrie oo ka socda Palestrina's "Ut Re Mi Fa Sol La" mass).

JS Bach. Motet.

Inta badan fugue dhowr S. ayaa samaysma, kuwaas oo soo koraya qaarkood. nidaamka (fugues dis-moll iyo b-moll laga soo bilaabo mugga 1aad ee "HTK"; fugue c-moll Mozart, K.-V. 426; fugue oo ka yimid hordhaca opera "Ivan Susanin" ee Glinka). Caadiyan waa tayeynta tartiib tartiib ah, dhibka habdhaqanka stretta. Tusaale ahaan, fugue ee b-moll ee mugga 2aad ee "HTK", 1aad (bar 27) iyo 2nd (bar 33) S. waxay ku qoran yihiin mawduuc dhaqdhaqaaq toos ah, 3rd (bar 67) iyo 4- I (bar 73) - oo si buuxda loo rogi karo, 5aad (bar 80) iyo 6aad (bar 89) - oo ku yaal bar-celiyad aan dhammaystirnayn, 7-aad (bar 96) - oo aan dhammaystirnayn dib loo rogi karo oo labanlaabmaya codadka; S. fugue-gan waxa uu la mid yahay codbaahiyaha kala firdhiyey. wareegga kala duwan (iyo sidaas macnaha "qaabka nidaamka 2aad"). Fugues ka kooban in ka badan hal S., waa wax dabiici ah in loo tixgeliyo S. kuwan inay yihiin xeryahooda asalka ah iyo kuwa ka soo jeeda (eeg barta isku dhafan). Wax soo saarka qaar. S. ugu adag waa dhab ahaantii isku darka asalka ah, iyo inta kale ee S. waa, sida ay ahaayeen, derivatives la fududeeyay, "saarid" asalka ah. Tusaale ahaan, fugue C-dur oo ka soo jeeda mugga 1aad ee "HTK", asalkiisu waa 4-gool. S. in baararka 16-19 (aagga qaybta dahabka ah), derivatives - 2-, 3-gool. S. (eeg baararka 7, 10, 14, 19, 21, 24) oo leh wareegyo toosan iyo toosan; waxaa loo qaadan karaa in laxamiistaha uu bilaabay curinta fugue-gan si sax ah oo leh naqshadda fugue-ga ugu adag. Mawqifka fugue, hawlihiisa fugue waa kala duwan yihiin oo asal ahaan caalami ah; marka lagu daro kiisaska ku xusan, mid ayaa tilmaamaya S., kaas oo si buuxda u go'aaminaya foomka (fugue laba-qaybood oo c-moll ah oo ka soo jeeda mugga 2aad, halkaas oo hufan, ku dhawaad ​​3-madaxa. Qaybta 1aad ee S. Iyada oo ay ku badan tahay afar qaybood oo viscous ah, waxay ka kooban tahay gebi ahaanba S.), iyo sidoo kale S., fulinta doorka horumarinta (fugue ka Tchaikovsky's 2st orchestral suite) iyo saad firfircoon (Kyrie ee Mozart's Requiem, baararka 14- 1). Codadka ku jira S. waxay geli karaan dhexda kasta (eeg tusaalaha hoose), si kastaba ha ahaatee, saamiga fudud - gelitaanka octave, shanaad iyo afraad - ayaa ah kuwa ugu badan, maaddaama xaaladahan oo kale la ilaaliyo codka mawduuca.

HADDII Stravinsky. Concerto laba biyaano, dhaqdhaqaaqa 4aad.

Dhaqdhaqaaqa S. wuxuu ku xiran yahay duruufo badan - xawliga, firfircoonida. heerka, tirada hordhaca ah, laakiin ilaa xadka ugu weyn - laga bilaabo contrapunct. kakanaanta S. iyo fogaanta gelitaanka codadka (yaraanta, way sii waxtar badan tahay S., dhammaan waxyaabaha kale waa siman yihiin). Canon laba madax leh oo ku saabsan mawduuc dhaqdhaqaaq toos ah - qaabka ugu badan ee C. 3-gool. S. Codka 3aad waxa uu inta badan galaa ka dib dhamaadka mawduuca ee codka bilowga ah, iyo S. sida silsiladda canons:

JS Bach. Clavier-ka si fiican u xanaaqsan, Volume 1. Fugue F-dur.

S. waa kuwo aad u yar, kuwaas oo mawduuca lagu fuliyo si buuxda dhammaan codadka qaabka canon (risposta ugu dambeeya wuxuu galaa ilaa dhammaadka proposta); S. noocaan ah waxaa lagu magacaabaa main (stretto maestrale), taas oo ah, si farsamaysan loo sameeyay (tusaale, fugues C-dur iyo b-moll laga soo bilaabo mugga 1aad, D-dur oo ka yimid mugga 2aad ee "HTK"). Hal-abuurayaashu waxay si badheedh ah u isticmaalaan S. oo leh decomp. isbeddellada dhawaaqa badan. Mawduucyada; beddelka waxaa loo isticmaalaa marar badan (tusaale, fugues in d-moll laga bilaabo mugga 1aad, Cis-dur laga soo bilaabo mugga 2aad; rogan ee S. waxay caadi u tahay fugues ee WA Mozart, tusaale ahaan, g-moll, K .-V. 401, c-moll, K.-V. 426) iyo korodhka, marmar hoos u dhaca (E-dur fugue ka mugga 2aad ee "HTK"), iyo inta badan dhowr ayaa la isku daraa. hababka isbeddelka (fugue c-moll laga bilaabo mugga 2nd, baararka 14-15 - dhaqdhaqaaqa tooska ah, wareegga iyo korodhka; dis-moll ka mugga 1st, in baararka 77-83 - nooc ka mid ah stretto maestrale: dhaqdhaqaaqa tooska ah , korodhka iyo isbeddelka saamiga laxanka). Dhawaaqa S. waxaa lagu buuxiyaa isbaarooyin (tusaale ahaan, C-dur fugue ee mugga 1aad ee cabbirada 7-8); mararka qaarkood ka-hortagga-ku-darka ama jajabkiisa ayaa lagu hayaa S. (bar 28 ee g-moll fugue ee mugga 1aad). S. ayaa si gaar ah u culus, halka mawduuca iyo mucaaradka la hayo ama mawduucyada fugue adag isku mar lagu daydo (bar 94 iyo in ka sii badan ee cis-moll fugue ee mugga 1aad ee CTC; jawaab celin - lambarka 35 - fugue ka quintet op. 57 ee Shostakovich). S. ee la soo xigtay, wuxuu ku dari doonaa laba mawduuc. codadka waa la tuuray (eeg col. 325).

A. Berg. "Wozzek", ficilka 3aad, sawirka 1aad (fugue).

Sida muujinta gaarka ah ee isbeddelka guud ee horumarinta polyphony-ga cusub, waxaa jira caqabad dheeraad ah oo ku saabsan farsamada stretto (oo ay ku jiraan isku dhafka aan dhammaystirnayn oo dib loo rogi karo iyo laba laablaab la dhaqaajin karo). Tusaalooyinka cajiibka ah waa S. ee fugue saddex-geesoodka ah ee No. 3 ee cantata "Ka dib akhrinta Sabuurka" ee Taneyev, ee fugue ka soo suite "The Tomb of Couperin" ee Ravel, ee fugue double ee A (baararka 58-68). ) laga bilaabo wareegga Hindemith ee Ludus tonalis, ee fugue double e -moll op. 87 No 4 waxaa qoray Shostakovich (nidaamka aargoosiga S. oo leh canon labajibbaaran oo cabbirkiisu yahay 111), oo fugue ka soo jeeda riwaayad 2 fp. Stravinsky. Soo saarista Shostakovich S., sida caadiga ah, waxay ku urursan yihiin dib-u-celinta, taas oo kala saarta riwaayadooda. door. Farsamo heer sare ah oo heer sare ah ayaa gaadhay S. alaabada ku salaysan tignoolajiyada taxanaha ah. Tusaale ahaan, falcelinta S. fugue ee ka timid dhamaadka riwaayaddii 3aad ee K. Karaev ayaa ka kooban mawduuca dhaqdhaqaaqa rakish; Heesta cimiladu ee Horudhac ka timid Lutosławski's Funeral Music waa ku dayasho toban iyo kow iyo toban cod oo weynayn iyo dib u celin; fikradda ah stretta polyphonic ah ayaa la keenay dhamaadka macquul ah ee halabuuro badan oo casri ah, marka codadka soo galaya "lagu cadaadiyo" tiro aan la taaban karin (tusaale ahaan, canonka afar-cod ee aan dhammaadka lahayn ee qaybta 2aad ee bilowga Qaybta 3aad ee xargaha K. Khachaturian rubuc).

Soocidda guud ee la aqbalay ee S. ma jirto. S., kaas oo kaliya bilowga mawduuca ama mawduuca leh macne la isticmaalo. isbeddellada heesaha waxaa mararka qaarkood loogu yeeraa mid aan dhammaystirnayn ama qayb ah. Tan iyo markii aasaaska aasaasiga ah ee S. waa canonical. foomamka, waayo codsiga sifada S. ee osn waa mid xaq ah. qeexitaannada qaababkan. S. laba mawduuc waxaa lagu magacaabi karaa labanlaab; qaybta foomamka "gaar ah" (sida laga soo xigtay ereyada SI Taneev) waa S., farsamada taas oo ka baxsan noocyada kala duwan ee dhacdooyinka wareega wareega, ie S., halkaasoo korodhka, hoos u dhaca, dhaqdhaqaaqa raked la isticmaalo; Marka la barbar dhigo canons-ka, S. waxaa lagu kala soocaa dhaqdhaqaaqa tooska ah, wareegga, isku-dhafka, qaybaha 1aad iyo 2aad, iwm.

Foomamka homophonic-ka, waxaa jira dhismayaal badan, kuwaas oo aan ahayn S. si buuxda (sababtoo ah macnaha guud, asalka ka soo jeeda xilliga homophonic, booska qaabka, iwm.), laakiin dhawaaqa waxay u eg yihiin; Tusaalooyinka hordhaca stretta ee noocan oo kale ah ama dhismayaasha u eg stretta waxay u adeegi karaan sida ugu weyn. Mawduuca dhaqdhaqaaqa 2aad ee fannaanka 1aad, bilawga saddexda dhaqdhaqaaq ee dhaqdhaqaaqa 3aad ee fannaanka 5aad ee Beethoven, qayb minuet ah oo ka soo jeeda heesaha C-dur ("Jupiter") ee Mozart (bar 44 ka dib), fugato in horumarinta dhaqdhaqaaqa 1aad (fiiri lambarka 19) ee Shostakovich's 5-aad heeso. Homophonic iyo isku dhafka homophonic-polyphonic. waxay sameeyaan isbarbardhig gaar ah oo S. ayaa si liddi ku ah u adag gabagabada. Dhismayaasha (canon ee dib u soo celinta Gorislava's cavatina ee opera Ruslan iyo Lyudmila by Glinka) iyo isku darka kakan mawduucyada hore u dhawaaqay si gooni gooni ah (bilawga reprise of overture ka opera The Mastersingers of Nuremberg by Wagner, soo gabagabeeyey qayb ka mid ah Codka goobta gorgortanka ee goobta 4-aad ee opera- the epic "Sadko" ee Rimsky-Korsakov, code of final of Taneyev's symphony in c-moll).

2) Dhaqdhaqaaqa degdega ah ee degdega ah, korodhka xawaaraha Ch. arr. gabagabadii. qaybta muusikada weyn. prod. (qoraalka muusiga waxaa lagu tilmaamay piъ stretto; mararka qaarkood kaliya isbeddel ku yimaada tempo ayaa la tilmaamayaa: piъ mosso, prestissimo, iwm.). S. - fudud iyo farshaxanka. xidhiidhku waa qalab aad waxtar u leh oo loo isticmaalo in lagu abuuro firfircooni. dhamaadka alaabta, oo inta badan la socota firfircoonida laxanka. bilow Ugu horrayn, waxay noqdeen kuwo baahsan oo waxay noqdeen wax ku dhow nooca qasabka ah ee talyaaniga. opera (oo aad dhif u ah cantata, oratorio) ee waqtiga G. Paisiello iyo D. Cimarosa oo ah qaybta ugu dambeysa ee kooxda (ama ka qayb qaadashada kooxda heesta) finalka (tusaale ahaan, kooxda ugu dambeysa ka dib Paolino's aria ee Cimarosa's Guurka Qarsoon). Tusaalooyinka cajiibka ah waxaa iska leh WA Mozart (tusaale ahaan, prestissimo ee dhamaadka falkii 2aad ee opera Le nozze di Figaro oo ah dhacdadii ugu danbaysay ee horumarinta xaalad majaajillo ah; dhamaadkii falkii 1aad ee opera Don Giovanni, piъ stretto waxaa lagu xoojiyay ku dayashada stretta). S. finalka sidoo kale waa mid caadi u ah alaabta. Talyaani. laxamiistayaashii qarnigii 19-aad – G. Rossini, B. Bellini, G. Verdi (tusaale ahaan, piъ mosso ee gebogebadii falkii 2aad ee opera “Aida”; qaybta gaarka ah, laxamiistaha ayaa ka soocaya C. soo bandhigida opera "La Traviata"). S. ayaa sidoo kale inta badan loo isticmaali jiray majaajilada iyo ariayada (tusaale ahaan, accelerando in Basilio's aria caanka ah ee ku saabsan cayda opera The Barber of Seville by Rossini), iyo sidoo kale lyrically xamaasad (tusaale, vivacissimo in duet of Gilda iyo Duke ee goobta 2aad opera "Rigoletto" ee Verdi) ama riwaayad. dabeecadda (tusaale ahaan, in the duet of Amneris iyo Radames laga bilaabo falkii 4aad ee opera Aida by Verdi). Aria yar ama laba geesood ah oo dabeecad heeseed leh oo soo noqnoqonaya laxan-xanuun. leexashada, halka S. loo isticmaalo, waxaa loo yaqaan cabaletta. S. sida hab gaar ah oo odhaaheed looma isticmaalin Talyaani oo keliya. laxamiistaha, laakiin sidoo kale sayidyada dalalka kale ee Yurub. Gaar ahaan, S. ee Op. MI Glinka (fiiri, tusaale ahaan, prestissimo iyo piъ stretto ee Horudhaca, piъ mosso ee Farlaf's rondo ee opera Ruslan iyo Lyudmila).

In ka yar S. wac dardargelinta gabagabada. gudaha. alaabta ku qoran xawli degdeg ah. Tusaalayaal muuqda ayaa laga helay Op. L. Beethoven (tusaale ahaan, presto uu ku adag yahay kanonka codadka dhamaadka riwaayadda 5-aad, "marxalad badan" S. oo ku taal koodka dhamaadka riwaayadda 9aad), fp. Muusigga R. Schumann (tusaale, comments schneller, noch schneller ka hor codadka iyo koodka qaybta 1aad ee piano sonata g-moll op. 22 ama prestissimo iyo immer schneller und schneller ee dhamaadka isla sonata; in Qaybaha 1aad iyo kan ugu dambeeya ee Carnival, hordhaca mawduucyo cusub waxaa weheliya dardargelinta dhaqdhaqaaqa ilaa stretto ugu dambeeya), Op. P. Liszt (maansooyinka caanka ah ee "Hungary"), iwm. Fikradda baahsan ee ah in waagii ka dambeeyay G. Verdi S. uu ka lumay dhaqanka curiyaha gabi ahaanba run maaha; in music con. Qarnigii 19-aad iyo wax-soo-saarkii qarnigii 20-aad Bogagga si aad u kala duwan ayaa loo dabaqaa; Si kastaba ha ahaatee, farsamada ayaa si xoog leh wax looga beddelay oo halabuurayaasha, iyagoo si ballaaran u isticmaalaya mabda'a S., waxay ku dhawaad ​​​​joojiyeen isticmaalka ereyga laftiisa. Tusaalooyinka badan ayaa lagu tilmaami karaa finalka qaybaha 1aad iyo 2aad ee opera "Oresteia" ee Taneyev, halkaas oo muusikiiste si cad u hagayo classic. dhaqan. Tusaalaha muuqda ee isticmaalka S. ee muusiggu waa mid maskaxiyan qoto dheer. qorshaha – goobta Inol iyo Golo (dhammaadka falkii 3aad) ee opera Pelleas et Mélisande ee Debussy; ereyga "S." Waxay ku dhacdaa dhibcaha Berg's Wozzeck (ficilka 2aad, dhexda, lambarka 160). Muusigga qarnigii 20-aad ee S., dhaqan ahaan, inta badan waxay u adeegtaa hab lagu gudbiyo majaajillo. xaaladaha (tusaale. No 14 "In taberna guando sumus" ("Markaan fadhiisano meel maqaaxi ah") oo ka yimid Orff's "Carmina burana", halkaas oo dardargelinta, oo ay weheliso crescendo aan xasilloonayn, waxay soo saartaa saameyn ku dhawaad ​​​​laxaad leh marka ay iskeed u socoto). Isagoo si farxad leh u faraxsan, wuxuu isticmaalaa classic. soo dhaweynta SS Prokofiev ee Chelia's monologue laga bilaabo bilawga ficilka 2aad ee opera "Jaceylka Saddex Oranges" (oo ku qoran kelmadda kaliya ee "Farfarello"), ee "Champagne Scene" ee Don Jerome iyo Mendoza (dhammaadka ficilka 2aad opera "Betrothal in a Monastery"). Sida muujinta gaarka ah ee qaabka neoclassical waa in loo tixgeliyaa quasi stretto (cabirka 512) ee ballet "Agon", Anne's cabaletta dhamaadka ficilka 1aad ee opera "Horumarka Rake" ee Stravinsky.

3) Ku dayashada dhimista (Talyaani: Imitazione alla stretta); ereyga caadi ahaan looma isticmaalo macnahan.

Tixraacyo: Zolotarev VA Fugue. Hagaha daraasad wax ku ool ah, M., 1932, 1965; Skrebkov SS, Falanqaynta Polyphonic, M.-L., 1940; isaga u gaar ah, Buug-gacmeedka badan, M.-L., 1951, M., 1965; Mazel LA, Qaab-dhismeedka shaqooyinka muusiga, M., 1960; Dmitriev AN, Polyphony oo ah qodobka qaabaynta, L., 1962; Protopov VV, Taariikhda polyphony ee ifafaaleheeda ugu muhiimsan. Muusigga qadiimiga ah ee Ruushka iyo Soofiyeedka, M., 1962; isaga, History of polyphony in ifafaale ay ugu muhiimsan. Classics-kii Galbeedka Yurub ee qarniyadii 18-19-aad, M., 1965; Dolzhansky AN, 24 horudhac iyo fugues by D. Shostakovich, L., 1963, 1970; Yuzhak K., Qaar ka mid ah qaababka qaabdhismeedka fugue ee JS Bach, M., 1965; Chugaev AG, Tilmaamaha qaab-dhismeedka Bach's clavier fugues, M., 1975; Richter E., Lehrbuch der Fuge, Lpz., 1859, 1921 (turjumaad Ruush - Richter E., Fugue Textbook, St. Petersburg, 1873); Buss1er L., Kontrapunkt und Fuge im freien Tonsatz…, V., 1878, 1912 (Turjumaada Ruushka – Bussler L., Qaabka adag. Buuga-barashada iyo fugue, M., 1885); Prout E., Fugue, L., 1891 (Turjumaada Ruushka - Prout E., Fugue, M., 1922); eeg sidoo kale shidan. ee Art. Polyphony

VP Frayonov