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The handle http: Avena Braga, I. Dolce Napoli: Approaches for performance Recorders for the Neapolitan Baroque repertoire, Tommaso Rossi Conservatorio di Musica di Cosenza.

A Vade Mecum for the Lovers of Musick. The anonymous. Shewing the Excellency of the Rechorder London: Suzanne G. Many of the other sixteenth century treatises. It is also noteworthy to point out that the fingering chart shows the same support finger technique presented much later by Hudgebut59 and Hotteterre.

It is my opinion that none of the aforementioned aspects of the treatise are sufficient in proving or 56 As opposed to the vast array of incredibly instructive and sometimes surprisingly complicated methods and tutors of the preceding century.

Italy seems to have had few amateurs in need of self-instruction manuals on the recorder. It is important to mention that. Vm8 G1. Van Heyghen has suggested a date of 50— years later. The surviving manuscript. A few further details are worthy of mention: For a more detailed account. Why is it 64 Analysis of the language used in the treatise as well as paper dating would be useful in further expanding the argumentation.

Aside from the Tutto il Bisognevole. Reggiani E. Ellen Rosand. Opera in Seventeenth-Century Venice: The Creation of a Genre Berkeley: University of California Press. In Bismantova wrote that the treatise had not been published because of the death of the dedicatee.

The work is in two layers. Surely reminiscent of previous practice — G was the usual descant of the recorder family during the Renaissance. The fingering chart Bismantova offers for his G alto goes as high as G6 without F 6. This will be discussed next. May Castellani has written a variety of articles and contributed with critical prefaces to a number of facsimile editions of flute music. As one of the first treatises to mention the Baroque recorder.

Aside from his work as a flutist and teacher. Ton Koopman. This is corroborated by extant Italian instruments. It has been previously hypothesized that this was intended to distinguish it from a different type of recorder made in another country. Italics in the original. Castellani sees this as a reference to a recorder in D.

The range of the fingerings presented in Baroque treatises for the recorder is also shown in Table A. The meager number of treatises in the seventeenth century in Italy. The fact that most of these treatises were indeed aimed at a wide reach of amateurs might possibly explain why the fingering charts of so many of those do not include the higher notes — and neither does the repertoire intended for them.

Table A also includes treatises dated later than F 6 G alto Bismantova London. G 4 Paris. Seventeenth and eighteenth century recorder methods with evidence of range City.

Laborde Essai sur la musique ancienne et F4-G6 flageolet. F 6 Erfurt. F 6 London. F 6 for the Common flute Amsterdam. F 6 Common Flute Paris. G 4 flute London. F 6 Paris. Encyclopedie methodique F4-G6 no F 6 London. G 4 London. D 4 soprano Toonen der Musijk Paris. Italian engraving. Figure B. Library of Congress. See also Richard A. On the recorder repertoire in Italy during the Baroque period Considering the great amount of instrumental music written in Baroque Italy specifically for the recorder.

Detroit Studies in Music Bibliography. For a collection of essays on various aspects of music in Venice as well as Rome at the time of Vivaldi. On Venetian instrumental music in general. If not specified. Four further sonatas of 79 David Lasocki. Aside from the wealth of music that comes from Naples. Venetian Music in the Age of Vivaldi. Venice was a recorder playing heaven. RV Basil Blackwell. Variorum Collected Studies Series Aldershot: This is no surprise. Italian music was very much in vogue everywhere in Europe in the early eighteenth century.

Paolo Benedetto Bellinzani c. The work. It should be noted that the list does not include those works that have been lost during World War II. University of Zurich. Nico Chaves. This thesis can be found online: My appreciation to Ton Koopman for acquainting me with the existence of the work and to Dr. The list is not less impressive outside of Venice and Naples: Nicola Schneider for providing me with the detailed reference.

Darmstadt and Dresden. Cl IV. The library now has made it accessible online at this address: Per suonarsi con Flauto. Hare c. Estensische Musikalien. Sinfonie di Roberto Valentini Inglese two collections of six sonatas for recorder and bass.

Walsh and J. Hare as Sonatas or Solos for a Flute. The latter aspect did not last long if compared to the traverso and oboe. The bulk of the repertoire referred to here is instrumental. This will be examined in Chapter 1. In other words. The fact that the bulk of the repertoire was not distributed in print points to a private market.

In Italian vocal contexts. The significance of this extensive repertoire can be summarized as follows: The status of the Neapolitan recorder being present both in amateur as well as professional circles is rather exceptional. Facsimile by Musica. Italy being such a fertile ground for the musical writing for the instrument offered inspiration in the design and construction of the tools necessary to perform this repertoire.

Venice aside. But what little time the recorder had to mature. The extant instrumental repertoire has both an amateur facet and one of professional virtuosity.

The explosion of the recorder repertoire in Naples In the period between c. With appearances in operas and oratorios as well. It is exactly this aspect of playing Neapolitan Baroque music that appeals so much to me as a player: The intention of this study is to explore the finesse and richness of sound that I believe this music calls for.

The music mostly does not demand flashy technical virtuosity.

The style of instrumental writing for the recorder in Naples during this period is. March Relevant studies which include historical evidence around the instrument makers include: Dutch Woodwind Instruments and their Makers. Ruth Koenig Den Haag: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis.

Phillip T. For further complementary studies. Hans Schimmel. Eric Halfpenny. Yet it is high time to start turning some of our attention to other models of recorders. Flute Issue February Dutch Recorders of the 18th Century: Collection Haags Gemeentemuseum Celle: Moeck Verlag. Vincent van den Ende. Tutto il bisognevole per sonar il flauto da 8 fori con pratica et orecchia Chapter 1: Italian Baroque Recorders 1.

Maurice Byrne. Thomas Lerch. Instruments by Peter Bressan. It is no coincidence that the recorder pioneers of the Early Music revival owned or had access to originals from those makers. July Given the vast amount of music written in Baroque Naples specifically for the recorder. Peter Bressan. Dale S. Rob van Acht. June Peter Thalhemer. Catherine Taylor. Percorsi di un musicista del Settecento. Maione F.

Complimentary to these is the very valuable research on notarial inventories examined by Renato Ruotolo. Also excluded from this study are the marble recorders Information on the research available on the production of instruments in Naples in the eighteenth century can be found in Francesco Nocerino. These notes are tuned in intervals of a third. Treats not only the recorder but also the traverso repertoire in Baroque Italy.

Also in Giovanni Paolo Di Stefano. The double recorders made by Anciuti are of a different type though. This study presents an overview of the currently known Italian Baroque makers and their extant instruments. Though not comprehensive. Italian Baroque Musical Instruments. Civica Raccolta Stampe Bertorelli. Il Settecento. Mario Adda Editore. Gabriele Rossi-Rognoni. Turchini Edizioni.

It is important to mention that this study does not include Italian Baroque double- recorders. Firenze Musei Florence: Gabriele Rossi- Rognoni. This chapter was therefore written especially for those who are not recorder makers or researchers of recorder making — the latter being the ones who would have been capable of carrying out this study on their own.

Some of my remarks and conclusions are derived from practical experience with recorders originals and copies. Since it was also the first time this data was collected in one place. Italian recorders have been somewhat cast-aside.

Much of this is knowledge embodied over many. Richard Haka and Jan Steenbergen and German e.

Stanesby Sr. All the instruments under scrutiny are included in Appendix 1: Catalogue of Italian Baroque recorders. Dutch e. In the so-called Early Music revival. Franca Falletti. Written from the point of view of a performer. As only very little of what is presented here was previously available at all.

Jean Jacques Rippert. Johann Wilhelm Oberlender makers. All that was gathered is found in Appendix 1. Although some attention has since been paid to Italian woodwinds. I have not described every instrument examined in loco in the same way.

English e. Akademie der Wissenschaften. Lorenzo Girodo. Fascicle i: Recorders and Flageolets. Tabulae Musicae Austraiacae Vienna: The New Langwill Index London: Tony Bingham. Nicholas S. William Lichtenwanger. Part II: Non-Keyboard Instruments London: Gerhard Stradner. Miller Flute Collection: A Checklist of the Instruments Washington.

Part D.: Miller Flute Collection at the Library of Congress: A Catalog. Arti Grafiche. A catalogue of the Pedro Traversari Collection of musical instruments Washington.

Richard Rephann. The majority of instruments in this compilation. The fact that this instrument was even produced at such a late date is also puzzling. The information was otherwise completed in private communication with the respective collections and collectors or consulting the following: Laura E. William Waterhouse.: Guido Bizzi. La Galleria Armonica: Istituto Poligrafico e Zecca dello Stato.

Musical Instruments in the Dayton C. Organization of American States. Edizioni Il Laboratorio da Amilcare Pizzi s. Michael Seyfrit. Original Recorders. The Dayton C. Luisa Cervelli. I suspect the majority of extant Italian Baroque recorders to be indeed in private hands.

LOT A third instrument. This is the case of Andrea Fornari: Detto a Becco Terzetto. Domenico Maria Manni.

Chorister is used also by the musicians to mean a small recorder. In the fourth edition of the Vocabolario degli Accademici della Crusca. It does possess all the physical qualities of a recorder but it also has a flageolet mouthpiece with a sponge.

Stefano Toffolo. Antichi strumenti veneziani — Quattro secoli di liuteria e cembalaria Venice: Arsenale Editrice. I would be especially keen to find out how many extant instruments did not make it into the current list. April-October Corista si dice ancora da' musici un Flautino. As this study will continue further. Detto a Becco Ottavin. Chorister tone.

As neither of those could really be confirmed. Although this mouthpiece diverges from all the other instruments listed. Onde Tuono corista. It is especially difficult to assert the The term corista. Teatro alla Scala. Cinzia Meroni. Current ownership is unknown to the present author. Upon our closer examination of the marks on the body and head of the instrument it is possible to affirm that this instrument is not by Montazzavi if there ever was such a maker. Milan brilliance of those Italian makers of which only a handful of instruments is available for study.

Landesmuseum Joanneum. A Dolce Flauto Dolce?. Musikinstrumenten Museum. No information on such a maker has come to the surface up till now. Conservatorio di Musica Giuseppe Verdi. The New Langwill Index. The new name and the crude construction of the instrument have excluded it from detailed measurements for this study. What is known is that the instrument is in a private collection supposedly in Parma and was measured during a Verdi exhibition in by Li Virghi.

Nice N. Gesellschaft der Musikfreunde. DCM Copenhagen flower]. Accademia Nazionale di Santa Cecilia. Museo Nazionale degli Strumenti Musicali. Quito rampant].

CARLO c. Library of and foot by Congress. Three centuries of history in the Carreras collection. Musikhistorisk [sun. Kraus und G. These have all be identified as being of Italian origin either by the museums that hold them or in previous studies. Kraus and G. SAM Vienna wimple. Might this be an engraved mark of Anciuti?

The fact that the instrument displays no block chamfer and virtually no upper chamfer is a strong indication that it might indeed be by Anciuti. The basic details collected are nonetheless included in Appendix 1. For conservation reasons. Schlosser's commentary on the stained marble flute in Vienna.

Kunsthistorisches Museum. Berlin I In addition. Museum of Musical Instruments. The instrument has therefore been included in this study. A copy of Per. Palais Lascaris.

IAB. Dolce Napoli - Dissertation - FINAL.pdf

Table 1. For the purpose of copying it though. Of those. The technical plan in Appendix 1 is thus by Philippe Bolton. What was collected is included in Appendix 1.

Berlin An x-ray of the recorder made at the Scuola Internazionale di Liuteria di Cremona was published by Cristina Ghirardini. Other nine Italian and six possibly Italian recorders were studied by acquiring previously available measurements.

A set of plans was kindly provided by Martin Wenner. Grafica Piemme. Vienna Initially it proved difficult to obtain such drawings from the museum. Scott already in the s. Museo de Instrumentos Musicales Pablo Traversari. However from the catalogue of the exhibition where Pollastri probably saw it. Conservatorio di Musica Arrigo Boito. What little technical information was available is also included in Appendix 1. Fontanelle Table 1. The sopranino in Berlin Anc. Febo Guizzi.

Milan Impossible to be accessed for various reasons are the Italian instruments shown in Table 1. See Roberto Leydi. Milan The private owner of the Palanca tenor Pal. The private owner of Anc. Bernardini mentions the owner to be in Sardegna. Bulzoni Editore. Thirty-four recorders considered in this study Numbers Level of detail of the extant measurements 11 10 Italian. Rome and Venice were more frequent than perhaps at first imagined.

Anciuti left a considerable legacy of some of the most beautiful and expertly crafted instruments built in the Baroque period. Voice presents more or less the same list. Paologiovanni Maione. Both lists are incomplete regarding Anciuti recorders: Leonardo Vinci as well as by the equally great. This decree did not last long. On the mobility of musicians across the three main Italian centers for music Venice.

His extant recorders are listed in Table 1. Bernardini and Meucci do not mention Anc. This may offer interesting insights into the performance of the repertoire that most likely has been played with such instruments. From Luciano Editore. Naples as well as references to other places. University of Otago. Francesco Cotticelli. The absences must have been so frequent and so greatly abused that in the king himself determined that the musicians would have to sign a book at the sacristy to determine their presence in the requested days and hours.

As the current study focuses on Naples. Leonardo Leo. This was resolved by splitting the staff of the Chapel in a more efficient way. Though the instruments were studied with various degrees of thoroughness. Anciuti was born in Forni di Sopra Udine in And upon his death.

Giovanni Maria could write signature on the notary act of This shows that. Tomaso died in The research carried out which resulted in the thorough article of Carreras and Meroni also brought to light notary documents that help to date his move from Udine to Milan. The first document is a debt contracted with his uncle Tomaso in in Venice. The forthcoming thesis by researcher Nichola Voice.

The interpretation of the documentation unearthed in the article presents a few interesting facts about the social status of the Anciutis: Giovanni Maria was back in Venice in to borrow money and ivory from his cousin.

He died in There is further corroboration of his strong link with Venice: If this worker then wants to become a master he must work for two years as a labourer before telling the steward that he wishes to become a master and that he would like to Ibid.

Voice has found regulations relating to apprenticeship: It seems probable that he learned his trade in Venice. What remained uncertain after the article was how Anciuti came to be a master of woodwind making: This could be a direct reference to Anciuti. It is pertinent to point out here that there were instrument makers. These last two are known to be a father and son pairing. These names are followed eventually by the first names Tomaso.

Il costruttore di strumenti musicali nella tradizione occidentale. The steward is obligated to allow the proof to be made in his own. Voice states. That Anciuti may not have been a guild member results from his name not being found in guild papers in Milan where he was known to be working.

She hypothesizes further about why Anciuti did not apply to become a master of the guild in Venice. La collezione di strumenti musicali del Museo Teatrale alla Scala. It may have indicated that Anciuti was under the patronage or protection of the Serenissima. The work Voice refers to is unpublished. It has not been verified therefore whether the extant double recorders by Anciuti all display the Lion mark. Voice writes: Bernd Wittenbrink.

It is a possible indication that the instrument was commissioned by someone in Venice. Bildarchiv und Fotothek. The present author attended a conference in which a related paper was presented: Cecil Adkins. Of Adkins points.

New York: Voice cites four reasons put forth by the organologist Cecil Adkins for the use of the Lion of St. Mark in the marks of Anciuti: Musikinstrumenten-Museum Berlin. It may have been a means of maintaining or taking advantage of a continued Venetian citizenship. A video of a sound proof on the instrument is available at appennino4p. Lemberg gives Celle F SL: This will be discussed further below.

Anciuti posseduto dal pifferaio Langin. Precisely because of his versatility and ingenuity as a maker. Now at but probably about originally. O Museum. Meucci writes: Venice] Museum. I foot: The museum reports Hz private correspondence. F silver. Berlin destroyed Indication present in the plan by Francesco Li Virghi private correspondence.

Paolo Fabbri Milan: Rti Grafiche Motta. Parma F SL: This issue of part numbering will be discussed further below. I Beni di Cultura. The fact that so many of his instruments now share parts by other Italian makers is perhaps a case in point for the distribution of his output in his time. Cinisello Balsamo. Castel and Giovanni Panormo. Annette Otterstedt. Castel was born. Castel and Carlo Palanca. Young reports Edizioni Il laboratorio da Amilcare Pizzi s.

Venice] Verdi. Castel Venice?. Conservatorio di MTS. Edinburgh and especially Nice. As I have discussed elsewhere. Castel and Magazari. There is an additional notation of the name Anzolo Castelbergher. Scole dei Marzeri. Um waren die Burgen Surcasti. The document is found in I-Vas. For what it is worth. There is no date on this [third] document.

Leo S. Documento Per Scola de Marzeri C. Sumvitg und Peiden nachweisbar. Castel and Perosa knew each other. Die Familie ist in Luven. Arte Tornidori. If indeed Anzolo Castel and Anzolo Castelbergher were the same person.

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A lion. William Waterhouse. A Checklist of the Instruments. If correct. This instrument is only partly by Castel. The iconographic part of his mark. At the moment. Pelzel Collection. Gesellschaft der flute stained SL: Museo alto — boxwood TL: Rome rampant] Cas. Nazionale degli F SL: Quito rampant] Cas.

C alto — ebony and TL: Museo voice. University F SL: Museo de alto — stained TL: Nazionale di Santa flute SL: Nazionale degli flute and metal SL: Accademia voice. Museo alto — stained TL: Rome D rampant] Cas.

Instrumentos F pearwood SL: Edinburgh sopranino — ivory TL: F ivory SL: Nazionale degli F pearwood SL: See also: Andrea Cionci. Nuova teoria di musica Parma: Library of F and ivory. The instrument has been inspected by Renato Meucci. Carlo Palanca. Fabio Biondi. Citing Gervasoni. Petr Zeifert. Il Tenore Collezionista Florence: Nardini Editore. A catalogue of the Pedro Traversari Collection of musical instruments. On the Gorga collection in Rome. Howard rampant] turned Head.

DCM alto — boxwood TL: Museo alto — boxwood. Bernardini gives Lorenzo. Oxford From Bernardini we learn that Carlo was the son of Lorenzo. Ralf Netsch says c.

Strumenti Musicali. He reports the Leipzig sopranino to be marked this way but this is an inaccuracy. Grassi Milan. Fumitaka Saito calculates c. The Eloquent Oboe. F and horn [B?

Bertolameo aged three.

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But three years later. It gives the information that he lived at Casa Marchese di Pianezza. This daughter is the artist known as Angela Maria Pittetti — who has painted a portrait of a flautist. Isola di S. A second sister. His year of birth. Details of this instrument can be Early Music Series Oxford: Biaggio aged eight. This first reference to a flute maker in Turin appears in the census of as the registration of Giovanni Lorenzo Palanca ca.

Listed as living with him are sons Aymo aged ten. Emanuel along with his wife Maria aged forty. Angella Maria.

Val Sesia in northern Italy. In According to Bernardini. Bernardini writes that the Portuguese letter is not the only reason to doubt the competence of Palanca. F with ivory SL: Bernardini states that Palanca instruments find more affinity with the Anglo Saxon school than with the French school. E86 alto — boxwood TL: About this oboe. This would indicate to me the possibility of another maker using his mark.

Dublin and London. Theirs was indeed a family of makers. Storia e significato dei nomi geografici italiani Turin: An article dedicated entirely to this recorder was published in C fruitwood.

Bologna in Fontanelle January. The date given in this article is but Di Stefano confirms that the correct date is As proposed in New York. This is the same mark found on the oboe and voce umana in the private collection of Alfredo Bernardini private communication.

Extant instruments reported to bear the same mark of the Washington. Waterhouse dates this latter mark to the early nineteenth century. Copy made by Fumitaka Saito Amsterdam. Also in Rome. Rome ibid. Sumner Healey. Paris William Waterhouse. One million voice and 3ds file converter, rock band game and sandiwara cinta republik mp3 s http: Remi aluko best dublin dance and police story 1 avi and youtube er hd p. Skateboard games online. Mvc version changer and araabmuzik feelin it.

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