dijous, 4 de febrer de 2016

MYSLIVECEK, Josef (1731-1781) - Sinfonias

John Hamilton Mortimer - A Caricature Group (1766)
Obra de John Hamilton Mortimer (1740-1779), pintor anglès (1)



- Recordatori de Josef Mysliveček -
En el dia de la commemoració del seu 235è aniversari de decés



Parlem de Pintura...

John Hamilton Mortimer (Eastbourne, 17 de setembre de 1740 - London, 4 de febrer de 1779) va ser un pintor anglès. Es va formar a partir del 1757 a Londres a l'Acadèmia del Duc Richmond. Allà va fer amistat amb el pintor Joseph Wright of Derby i va començar la seva carrera com a pintor i professor. Va obtenir diversos premis amb els seus quadres, entre ells el de Sant Pau convertint els britans, fet que va redundar en una bona posició social. Va ser autor, així mateix, de nombrosos gravats, especialment de personatges de Shakespeare. Va ser membre de la Societat d'Artistes i a partir del 1778 va exhibir a la Royal Academy si bé un any després va morir per causes desconegudes a Londres.

Font: En català: No disponible En castellano: John Hamilton Mortimer (1740-1779) In english: John Hamilton Mortimer (1740-1779) - Altres: John Hamilton Mortimer (1740-1779)



Parlem de Música...

Josef Mysliveček (Praha, 9 de març de 1737 - Roma, 4 de febrer de 1781) va ser un compositor txec. Es creu que es va formar inicialment amb Felix Benda abans d'entrar a la Dominican Normalschule de l'església de St Giles de Praga. Més tard, es va formar al Gymnasium jesuïta i a la Universitat de Charles-Ferdinand. El 1753 va abandonar els seus estudis per tal de rebre formació, juntament amb el seu germà bessó, en el negoci familiar. No obstant, a principis del 1760 va abandonar la professió paterna i es va dedicar, de forma autodidacta, a la música. Es creu que va iniciar estudis de composició amb Franz Habermann abans d'entrar en contacte amb Josef Seger, l'organista de l'Església Týn de Praga. Es creu també que va ser intèrpret de violí a l'església. El novembre de 1763 va viatjar a Venècia on va entrar en contracte amb el teatre. Allà es va formar amb G.B. Pescetti i va estrenar la seva primera òpera Semiramide (Bolonya, 1765). Va ser aleshores que a Itàlia se'l va començar a conèixer amb el nom de 'Il Boemo'. El seu reconeixement públic va arribar a partir del 1767 amb l'estrena de Il Bellerofonte a Nàpols. A partir d'aquell èxit, va decidir viure la resta de la seva vida a Itàlia si bé va continuar viatjant en diverses ocasions per Europa. A Bolonya va fer estreta amistat amb el Pare Martini qui el va recomanar, el 1771, a l'Accademia Filarmonica. El 1768 va tornar a Praga, probablement en motiu de la mort de la seva mare. El 1772 va provar fortuna a Viena sense èxit i el 1777 va viatjar, prèvia invitació de Maximilià III de Baviera, a Munich on la seva òpera Ezio i el seu oratori Isacco van ser molt ben rebuts. El 1778 va tornar a Itàlia on va seguir conreant èxits a Nàpols i Venècia. Tot i la seva fama assolida en vida, va acabar morint en la pobresa a Roma el febrer de 1781 fins el punt que el seu funeral el va costejar un dels seus alumnes de cognom Barry.

OBRA:

Vocal secular:

Operas:
Semiramide (3, P. Metastasio), Bergamo, Cittadella, sum. 1765, CZ-Pnm (inc.), P-La; sinfonia, CZ-Pnm, US-Wc
Il Bellerofonte (3, G. Bonecchi), Naples, S Carlo, 20 Jan 1767, D-Dlb, F-Pn, I-Fc, Rdp (frag.), P-La; sinfona, CZ-Pnm, D-SWl
Farnace (3, A.M. Lucchini), Naples, S. Carlo, 4 Nov 1767, D-Mbs, H-Bn, I-Nc*, P-La; sinfonia, CZ-Pnm, I-Gl
Il trionfo di Clelia (3, Metastasio), Turin, Regio, 26 Dec 1767, Fc, Tf, P-La; sinfonia, CH-E, EN, CZ-KRa, Pnm, D-W, S-Skma, ed. in The Symphony 1720–1840, ser. B, xiii (New York, 1984)
Demofoonte [1st version] (3, Metastasio), Venice, S Benedetto, 17 Jan 1769, I-Vnm (Act 1), P-La; sinfonia, CZ-Pnm, D-Rtt, E-Mp, US-Wc
L’Ipermestra (3, Metastasio), Florence, Pergola, 27 March 1769, A-Wn*, CZ-Pnm, I-Fc, P-La (Acts 1 and 3); sinfonia, CZ-Pnm, D-W
La Nitteti (3, Metastasio), Bologna, Nuovo Pubblico, 29 April 1770, I-Fc, P-La, RF-SPit* (Acts 1 and 2); sinfonia, CZ-Pnm, D-Rtt, ed. E. Hradecký (Prague, 1957)
Motezuma (3, V.A. Cigna-Santi), Florence, Pergola, 23 Jan 1771, A-Wgm*, CZ-Pnm, I-Fc, P-La (Acts 2 and 3), US-Wc, 1 aria in Journal d’ariettes italiennes (Paris, 1784); sinfonia, D-WEY
Il gran Tamerlano (3, A. Piovene), Milan, Regio Ducal, 26 Dec 1771, A-Wn*, F-Pn, I-Fc, P-La (Acts 1 and 3); sinfonia, CH-Zz, I-Mc, ed. H. Müller (Zürich, 1975)
Il Demetrio [1st version] (3, Metastasio), Pavia, Quattro Cavalieri, 24 May 1773, D-Bsb*, I-Fc; sinfonia, CH-EN, I-Mc, Mcom, MAav, in 6 sinfonie (Florence, ?c1777), ed. G. Zampieri, in Bollettino storico pavese, ii (1939), 1–32
Romolo ed Ersilia (3, Metastasio), Naples, S Carlo, 13 Aug 1773, CZ-Pnm (Act 2), I-Fc, Nc, P-la; sinfonia, F-Pn
Antigona (3, G. Roccaforte), Turin, Regio, 26 Dec 1773, A-Wn*, P-La (Act 1); sinfonia, I-MAav, Rdp, RVE, in 6 sinfonie (Florence, ?c1777)
La clemenza di Tito (3, Metastasio), Venice, S Benedetto, Jan 1774, P-La
Atide (3, based on T. Stanzani, after P. Quinault), Padua, Nuovo, June 1774, A-Wn*, I-Pl; sinfonia from Antigona
Artaserse (3, Metastasio), Naples, S Carlo, 13 Aug 1774, Fc, Nc; sinfonia, CH-EN, I-MAav, in 6 sinfonie (Florence, ?c1777), ed. J. Sehnal (Prague, 1973)
Il Demofoonte [2nd version] (3, Metastasio), Naples, S Carlo, 20 Jan 1775, A-Wn*, I-Fc, Nc, P-La, US-Wc, 1 aria in Journal d’ariettes (Paris, 1782); sinfonia, D-WEY, I-MAav, in 6 sinfonie (Florence, ?c1777)
Ezio [1st version] (3, Metastasio), Naples, S Carlo, 30 May 1775, A-Wn*, CZ-Pnm (Act 2), F-Pn (Acts 1 and 2, attrib. P. Anfossi), I-Fc, Nc, P-La, 2 arias ed. J. Branberger, Album českého bel canta (Prague, 1949); sinfonia, CH-EN, F-Pn, I-MAav, in 6 sinfonie (Florence, ?c1777), also pubd separately (Florence, ?c1777)
Adriano in Siria (3, Metastasio), Florence, Cocomero, 8 Sept 1776, I-Fc (without sinfonia); sinfonia, D-WEY, I-MAav, in 6 sinfonie (Florence, ?c1777), also pubd separately (Florence, ?1776)
Ezio [2nd version] (3, Metastasio), Munich, Hof, carn. 1777, D-Mbs (2 copies); sinfonia, CH-EN, CZ-Pnm, ed. R. Münster (Milan, 1962)
La Calliroe (3, M. Verazi), Naples, S Carlo, 30 May 1778, F-Pn, I-Nc*, P-La (Acts 1 and 2), 1 aria in Journal d’ariettes italiennes (Paris, 1783); sinfonia, CH-E, EN, CZ-NR, Pnm, I-Mc, MOe, S-Skma (Florence, ?c1777–8), ed. H. Müller (Zürich, 1979)
L’olimpiade (3, Metastasio), Naples, S Carlo, 4 Nov 1778, I-Nc, P-La; sinfonia, S-Skma
La Circe (3, D. Perelli), Venice, S Benedetto, 12 May 1779, aria and terzetto, D-Mh, 3 arias and 1 duet, D-MÜs
Demetrio [2nd version] (3, Metastasio), Naples, S Carlo, 13 Aug 1779, I-Nc, P-La
Armida (3, based on G.A. Migliavacca, after Quinault), Milan, Scala, 26 Dec 1779, F-Pn (inc.), P-La, 1 aria in Journal d’ariettes italiennes (Paris, 1782); sinfonia, CZ-Bm, I-MOe, Rc, ed. E. Hradecký (Prague, 1957)
Il Medonte (3, G. De Gamerra), Rome, Argentina, 26 Jan 1780, F-Pn* (Act 1), I-Rc (Act 1), RF-SPsc (inc.), 1 aria in Journal d’ariettes italiennes (Paris, 1786), 1 aria in Musikaliskt tidsfördrif (Stockholm, 1794); sinfonia, CZ-KRa, I-MOe, PEsp, US-AAu (attrib. D. Cimarosa)
Antigono (3, Metastasio), Rome, Alibert, 5 April 1780, aria, A-Wn, CH-Fcu, D-Bsb, Mh, DK-Sa, I-BGc, Rc, US-R, pubd (London, 1790), 2 arias, D-Mh, 1 duet, E-Mp

Other dramatic works:
Il Parnaso confuso (dramatic cant., Metastasio), ?c1765-6, CZ-Pnm, I-Rsc, sinfonia, CZ-Pnm, D-AB, I-Gl;
Elfrida (verse play with choruses, A. Pillori), Florence, Piazza Vecchia, 8 Dec 1774, music lost;
Das ausgerechnete Glück (children’s operetta, after J.C. Krüger: Herzog Michel), Prague, Divadlo v Kotcích, 22 April 1777, music lost;
Theodorich und Elisa (melodrama), ? Munich, 1777-8, kbd arr. D-DO

Music in:
?Orfeo ed Euridice, Naples, 1774;
Creso, Naples, 1776;
Adriano in Siria, Livorno, 1777;
Ezio, Genoa, 1777;
Demofoonte, London, 1778, 2 arias in Favourite Songs;
Alessandro nell’Indie, London, 1779, 2 arias in Favourite Songs;
?Erifile (? Genoa, 1779);
Il soldano generoso, London, 1780;
Il Begliar-Bey di Caramania, Dresden, 1780;
Mitridate a Sinope, Genoa, 1781;
Giunio Bruto, Genoa, 1782;
Giannina e Bernardone, Vienna, 1784

Doubtful:
Medea, Parma, Ducale, 1764;
Erifile, Munich, 1773;
Achille in Sciro, Naples, 1775;
Merope, Naples, 1775;
Armida, Lucca, Pubblico, 15 Aug 1778

Arias and ensembles:
Il caro mio bene, CZ-Pnm, F-Pn, I-Vc, ?c1773, arr. ?W.A. Mozart as Ridente la calma (k152/210a);
Ah che fugir … Se il ciel mi chi rida (scene and aria), D-Bsb;
3 duetti notturni, 2 vv, insts (probably from a cycle of 6), CZ-Pnm, ed. in MAB, 2nd ser., vii (1972/R);
over 550 arias and ensembles most from ops, many with sacred Lat. texts substituted, principal sources CZ-Pnm, D-MÜs, F-Pn, I-Nc

Vocal religiosa:

Oratorios:
Il Tobia (2) Padua, 1769, D-Mbs, Rp, I-Pca
I pellegrini al sepolcro (2, ?S.B. Pallavicino), Padua, 1770, lost
Giuseppe riconosciuto (2, Metastasio), Padua, ?c1770, lost (music in score attrib. Mysliveček, Pca, is by J.A. Hasse)
Adamo ed Eva (2), Florence, 24 March 1771, I-Rf; sinfonia, Gl
Betulia liberata (2, Metastasio), Padua, 1771, lost
La passione di Nostro Signore Gesù Cristo (2, Metastasio), Florence, 24 March 1773, D-F (facs. in IO, xxiii, 1986), Mbs (pt i), Rp (as La morte di Gesù)
La liberazione d’Israele (2, G. Basso Bassi), Prague, Crusaders’ Church, Good Friday 1775, lost
Isacco figura del redentore (2, Metastasio), Florence, 10 March 1776, CZ-Nlobkowicz, Pnm, Pu, D-Bsb (attrib. J. Haydn), Dlb (attrib.Haydn), Mbs, Rp, F-Pn, H-Bn, I-Fc (attrib. W.A. Mozart), MOe (in Ger.), Rf; sinfonia, D-MÜs, WEY

Spurious:
‘L'ascenza di S Benedette’, cited in ČSHS

Other:
Cants.:
Cantata per S.E. Marino Cavalli (N. Mussato), Padua, Accademia dei Ricovrati, 30 Aug 1768, lost;
Narciso al fonte (Zangarini), Padua, 1768, lost;
Cantata a 2, by 1771, CZ-Pnm, D-AB, I-Gl;
Enea negl'Elisi (Il tempio d'eternità), Munich, 1777, lost;
Armida, A-Wn;
Ebbi, non ti smarir, GB-Lbl;
Non, non turbati, o Nice (Metastasio), Lbl, I-CRE;
6 birthday cants., Naples, S Carlo, 1767–79, lost

Veni sponsa Christi (ant), test composition for admission to Accademia Filarmonica, Bologna, 1771, I-Baf, Bc;
Lytanie laurentanae, D-Mbs;
Offertorium Beatus Bernardy, D-EB, doubtful;
2 masses, lost, mentioned in DlabacžKL;
other works; attrib. Mysliveček, doubtful

Instrumental:

Symphonies:
c45 syms.: C, 1762, CZ-Pnm, ed. H.H. Stuckenschmidt (Vienna, 1940);
6 sinfonie a quattro op.1, hn and ob ad lib, as op.1 (Nuremberg, c1764);
2 syms., D, G, by 1768, 1 in CZ-Pnm, I-Gl, 1 in A-LA, D-Rtt; D, E , by 1769, CZ-Pnm, 1 also in US-Wc, ed. E. Hradecký (Prague, 1957);
F, by c1770, D-Rtt;
2 syms., C, F, by 1771, CZ-Pnm, I-Gl, 1 also in D-AB, US-Wc;
D, by 1771, A-VOR;
F, 1771, CZ-Pnm US-Wc;
6 Overtures (London, 1772);
1 in 6 Overtures … Collected by A. Kammell (London, 1773);
6 syms., C, D, E , F, G, B , 1778, D-WEY, 2 ed. in The Symphony 1720–1840, ser. B, xiii (New York, 1984);
5 syms., C, D, F, F, G, by c1780, CZ-Pnm, 1 also in D-Rtt, 1 also in D-W (incl. extra movt), 1 ed. E. Hradecký (Prague, 1956);
D, 1780, I-RVE;
E, CZ-Pnm;
G, US-Wc;
Sinfonia-serenade, G, I-MOe, 5 syms., str, D, E , G, A, B , CZ-Pnm, 1 ed. E. Hradecký (Prague, 1957);
25 separately preserved ovs. to ops, orats and cants. (see above)

Doubtful:
D, by 1766, CZ-Pnm, I-Gl, D, 1769, CZ-Bm, D-Rtt, SQ-BRnm, MO, F, CZ-Pnm, D-Bsb, Z, E , by 1771, PL-CZ, all also attrib. C. Ditters von Dittersdorf;
D, by 1774, F-Pn, also attrib. J.C. Bach

Syms. with conflicting attribs.:
D, by 1766, CZ-KRa, by Dittersdorf;
C, Pnm, by P. van Maldere, op.4 no.2;
D, US-AAu, by D. Cimarosa;
E , D-Dlb, I-MAav, by F.A. Hoffmeister

Lost:
5 syms., by 1771, formerly A-VOR;
6 syms., cat. 1776–7;
Sym., C, formerly Berlin, Staatsbibliothek Preussischer Kulturbesitz, destroyed

Concertos:
8 for vn, by ?1772, A-Wgm (1 frag.), CZ-Pnm, Pu, I-Gl, 2 ed. in RRMCE, xli (1994), 1 ed. J. Čeleda (Kutná Hora, 1928/R), 3 ed. E. Hradecký (Prague, 1956–7), 1 ed. E. Hradecký (Prague, 1957), 1 ed. K. Moor and L. Láska (Prague, 1948);
1 for vn, by 1769, CZ-Pnm, S-Sm, ed. in RRMCE, xli (1994);
1 for vn, by 1770, D-WRl, arr. for vc, A-Wgm, CZ-Pnm, Pu, ed. O. Pulkert (Leningrad, 1973);
2 for kbd, ?1777–8, F-Pn, CZ-Pnm, D-MÜs, I-Rc, S-Skma, 1, ed. E. Fendler (London, 1958);
1 for fl, PL-WRu, ed. M. Munclinger (Prague, 1969) and in MVH, xxiii (1969);
Concertino, D-BFb, Rtt

Chbr.:
Octets:
3 for 2 ob, 2 cl, 2 hn, 2 bn, 1777–8, D-DO, ed. in MAB, lv (1962/R)
Qnts:
6 for 2 vn, 2 va, vc, op.2 (Paris and Lyons, 1767–8);
6 for 2 vn, 2 va, vc, ?1773, I-Mc, MOe, 3 ed. in MAB, xxxi (1957, 2/1973), 3 ed. in MAB, lxxxiii (1988);
6 for ob/fl, 2 vn, va, b, ?1777, Br. cat. 1782–4, 1 in E-Mp, 1 in I-Rc, others lost;
6 for 2 ob, 2 hn, bn, c1780, D-MÜs*;
1 for 2 vn, 2 va, b, CZ-Pnm, doubtful;
Cassation, 2 cl, 2 hn, b, CZ-Bm, doubtful
Str qts:
6 as op.3 (Paris and Lyons, 1768–9), 1 ed. F.X. Thuri (Prague, 1992), 1 ed. A. Martínková (Prague, 1971);
6 as op.1 (Offenbach, 1778);
6 str qts (Berlin and Amsterdam, 1781);
5 str qts, CZ-Pnm, also arr. str orch, Pnm;
?1 qt listed in J.N. Weigl: Quartbuch, c1775, lost;
1, F, Pu, by I. Pleyel
Trios:
6 for 2 vn, b, Br. cat. 1767, 1, in US-BE, others lost, 6 for 2 vn, b, op.1 (Paris, 1768), also as op.2 (Offenbach, 1779), 4 also in 6 Trios (London, 1772);
6 for 2 vn, b, op.4 (Paris, 1772);
6 for 2 fl, b, op.5 (Paris, c1775–7);
6 for fl, vn, b (Florence, c1775–85), 4 as op.1 (Amsterdam, n.d.), ed. in MVH, xlii (1978), 2 ed. W. Kölbel (Wilhelmshaven, 1991), 1 ed. H. Steinbeck (Zürich, 1972);
6 for 2 vc, b, by c1780, CZ-Pnm;
2 for fl, vn, b, in 6 Trios (London, c1795), incl. works by Venturini and L. Leo;
10 for vn, vn/vc, b, CZ-Pnm, 6 concordant with printed sources, 1 ed. B. Malotín (Prague, 1975);
6 for 2 fl, b, A-HE, all concordant with printed sources, ed. T.D. Thomas (Bellingham, WA, 1983–5);
1 for 2 vn, b I-Pca;
1 for 2 vn, b CZ-Pu;
1 for hn, vn, b, Br. cat. 1778, 1781, also attrib. G. Punto, doubtful, lost;
1 for cl, 2 hn, RF-SPsc

Other chbr:
Sonata, vc, b, Br. cat. 1770, lost;
6 sonatas, vn, kbd (London, 1775), 1 ed. S. Gerlach and Z. Pilková (Munich, 1985);
12 sonatas, vn, kbd, CZ-Pnm;
5 sonatas, vn, b, I-Gl;
Adagio, vn, hpd, ed. J. Čeleda (Kutná Hora, 1933);
Minuet, 2 fl/2 ob/2 vn, in Thompson’s Miscellaneous collection of Elegant Duettinos (London, c1790), doubtful;
2 minuets, vn, pf, CZ-Pnm, doubtful, 1 ed. J. Čeleda in Česka hudba, xxxi (1928–9), ed. B. Šťedron in Čestí klasíkové (Prague, 1953)

Solo inst:
6 Easy Divertimentos, kbd (London, 1777), ed. L. Salter (London, 1983);
6 Easy Lessons, kbd (Edinburgh, 1784), ed. J. Branberger and V. Růžková (Prague, 1938);
Kbd Sonata, I-PEsp

Font: En català: Josef Mysliveček (1731-1781) En castellano: Josef Mysliveček (1731-1781) In english: Josef Mysliveček (1731-1781) - Altres: Josef Mysliveček (1731-1781)



Parlem en veu pròpia o en veu d'altri...

Mysliveček’s relations with the Mozart family form a topic of considerable interest. After meeting Leopold and Wolfgang in Bologna in March 1770, he was an intimate friend of both for about eight years. He is one of the composers most frequently mentioned in the Mozart correspondence, which is the only source of a number of personal details (including a reputation for sexual promiscuity). For years the Mozarts found his dynamic personality (full of ‘fire, spirit and life’) irresistibly charming, but their friendship soured in 1778 when Mysliveček failed to fulfil a boastful promise to arrange an operatic commission for Wolfgang at the Teatro S Carlo in Naples for Carnival 1779. Leopold also resented Mysliveček’s shameless (but successful) efforts to obtain patronage through him from the Prince-Archbishop of Salzburg. During the period of their friendship, Mozart undoubtedly turned to Mysliveček for stylistic models; for example, he composed his first opera seria, Mitridate, with reference to Mysliveček’s Nitteti, and he borrowed musical ideas from Mysliveček’s concertos, symphonies and keyboard sonatas in various works (see e.g. Freeman, 1995). The incipit of a symphony particularly admired by Mozart (the overture to Demofoonte, 1769) is quoted in a postscript to a letter written by Leopold in Milan on 22 December 1770. Mysliveček’s most famous composition is the aria ‘Il caro mio bene’ as arranged (supposedly by Mozart) with the substitute text ‘Ridente la calma’ (k152/210a). Mysliveček adopted italianate modes of expression in almost all his compositions. At the centre of his output were of course his opere serie: in the period 1765–80 he was the most prolific composer of opera seria in Europe. 

His contributions did not involve innovation, however, but rather the refinement of existing (usually conservative) traditions. At first he composed works dominated by elaborate dal segno arias with brilliant passage-work and sophisticated accompaniments, but in 1773 (especially with Romolo ed Ersilia) he began to respond to trends associated with reform opera by constructing almost all of his arias in sonata and other forms; he also began to introduce more accompanied recitative and to use simpler, more tuneful aria themes. Beginning with La Calliroe (1778), his operas generally feature even more elaborate sections of accompanied recitative and many arias of the slow–fast rondò type, in which he excelled. His arias and ensembles from all periods are distinguished by a fertile melodic invention and skilful techniques of phrase extension. Mysliveček was also a fine composer of oratorios; his setting of Metastasio’s Isacco figura del redentore is perhaps his greatest work. Mysliveček’s symphonies form his principal contribution to instrumental music. All are cast in three-movement format and are essentially indistinguishable in style from his opera overtures, which were unsurpassed in Italy and frequently disseminated as independent works. The strength of his writing lies in his keen mastery of textural subtleties, lyrical melodic style and harmonic inflection. His violin concertos are also among the greatest of his day. Mysliveček’s chamber and keyboard works are generally less interesting, but he did produce a great variety of chamber works cast in the three-movement arrangements common to Italian chamber music of the day. His Quintets op.2 (Paris and Lyons, 1767–8) are among the earliest scored for two violins, two violas and cello. Similarly, his wind octets (probably composed in Munich, 1777–8) are among the earliest compositions scored for pairs of oboes, clarinets, horns and bassoons.

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Informació addicional... 

INTERPRETS: Prague Chamber Orchestra; Bretislav Novotný
RECICLASSICAT: MYSLIVECEK, Josef (1731-1781)
IMSLP: Josef Mysliveček (1731-1781)
SPOTIFY: MYSLIVECEK, J. - Sinfonias
SPOTIFY: MYSLIVECEK, J. - Sinfonias



















Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

5 comentaris:

  1. Un administrador del blog ha eliminat aquest comentari.

    ResponElimina
  2. Muchas gracias MYSLIVECEK, J. - Sinfonias II, 07 Sinfonia in G Major - Allegro assai 00 :58 ?

    ResponElimina
    Respostes
    1. I am so sorry but the track is wrong. I bought by itunes.

      https://itunes.apple.com/us/album/myslivecek-sinfonias/id495468503

      Greetings.
      Pau

      Elimina
  3. I couldn't quite DL https://itunes.apple.com/us/album/myslivecek-sinfonias/id495468503

    So, can you put it up on ZP?

    ResponElimina