In 1918 the company presented the herman you Podesta in "stumbling block" and "The farm of Don Lorenzo "Martin Coronado works
season in 1918, Ignacio Corsini makes some appearances at the Teatro Politeama
acting company member of the Podesta brothers, starring roles in the plays" The stumbling block "and" The farm of Don Lorenzo " Martin Coronado, and "hidden law" by Claudio Martínez Payva.
However this was not the first time participating in "The stumbling block," since the end of 1916, the Don Pepe opened the Summer Theater Podesta, said work was performed with the participation of the role Corsini Manuel. The Summer Theatre was built by Peter Podesta on the site of an old corral was outdoors, and was located in San Juan and Entre Ríos, opposite the police station 18 of the Federal Police. The reports
Pepe Podesta (cited by Dr. Ignacio Corsini h.), the father of Circo Criollo recalls this season and refers to the Theatre Summer saying it was "... an entirely local Outdoor Erto, minus the stage. More than once had to defend ourselves from the cold, wind and rain, and the crowd was sometimes the show with umbrellas open, encouraging artists to not to interrupt the "
Ignacio Corsini, at that time was a resident of the neighborhood, and lived in the house on the corner of San Juan and Solis, along with his wife Victoria Pacheco and their young son Ignacio, and met fellow art-cafe in a store that was located in San Juan and Entre Rios.
In 1918, the company Politeama and passed to the March 30 premiere, "The farm of Don Lorenzo" by Martin Coronado, which is a continuation of "stumbling block", where once again Ignacio Corsini, plays the role of Manuel. The work was well received by the audience cheered the opening night the author and the performers. Originally
paper was offered by Martin and Pepe Coronado to the great actor Paul Podesta Podesta, who had released "The stumbling block" in 1902 and had given life to the role of Manuel, but Paul was at that time conducting a successful season in modern theater, and thus he offered to replace Ignacio Corsini the role originally intended for Paul Podesta, which undoubtedly proves the acting chops of singer Knight.
In his "Memoirs of a theater man, Enrique García Velloso, recalls the figure of Martin Coronado and the details surrounding the creation of" stumbling block "and the circumstances of their subsequent screening. Remember
García Velloso, the original manuscript of the work - which was written in verse, was read for the first time in a meeting at the home of Rafael Obligado around 1891.
were present at that meeting "... Calixto Oyuela, the Mexican diplomat novelist Federico Gamboa, minister at the time in Buenos Aires, Leopoldo Diaz, slender, elegant, pointed black beard and mustache of a musketeer, the Chilean poet Puelma Tuper, recently married a Viola Navarro, Ernesto Quesada, whose i mponente stature came from a group formed by Juan Antonio Argerich, Carlos Vega Belgrano and D iego Fernández Spiro, and in an angle the room, talking and Domingo Soto y Calvo Martinto.
The manuscript was taken by García Velloso, who by then a teenager, on behalf of his father's house Rafael Obligado to the time set for the gathering: half past nine p.m.. The trip was made by tram horses, from the Canyon
Santa Lucia to the street Alsina, which gave him time to read and act through the work, being most interested in knowing the end of the second act. So, remember that continued reading in the light of stained glass windows of a colonial house that was located on the corner of Alsina and Cambaceres (current Bernardo de Irigoyen), where he was an old shop that sold ponchos and clothing for country people .
At that gathering, was read in the presence of Don Martin Coronado "The stumbling block." The young Garcia Velloso, who watched the scene through the windows of an adjacent desk remembers the highlight of the meeting:
"Suddenly there was silence and my father, who had a right to Don Martin Coronado, began reading the dimension of the scene for the first act of The Stone of scandal. Came to my verses rounded, easy, surround music, saw the faces of the listeners denoting an interest without fatigue, I saw my father stac ar moments of overflowing emotion or romantic, I saw Don Martin, staring at the carpet, stroking his goatee nervously and white ... When he finished reading the first act, all surrounding the grateful poet in monosyllables, with that nasal voice over and those children's gestures, congratulations from the audience ... "
However, the original manuscript of" The stumbling block, however remained returned to the same father's desk drawer Enrique García Velloso, where he remained eleven years awaiting their fate. There was a failed attempt to perform it in 1896, but this was unsuccessful.
By 1902, the company of the Podesta brothers performed a successful season at the Apollo Theater. Don Pepe Podesta had rented a room that paltry sum, which by then was in a complete state abandonment. Enrique García Velloso
offers "The stumbling block" to Pepe Podesta and Ezequiel Soria-director of the Podesta brothers' company, "but if the consent of the author.
Rescue and the manuscript was still in her father's desk and brought it to Don Pepe. However, the fact that the work was not written in prose genre objections by Podesta, who felt that his players did not have enough versatility for verse drama.
But Garcia insisted hairy enough to pass the reading Soria: "Start reading, to read, nothing is lost; enterémonos first what is the work and then discuss whether they can oo represent the actors in this company. "
It goes without saying that reading was a success and that Don Pepe that evening read the most important parts to his brothers Antonio, John and Paul. The latter was so impressed with the character of Manuel, and the lines indicated that the work should be sung by the character in Act II, which immediately began to compose music that would become known to name of "style of scandal."
Remember García Velloso, who heard him sing permanently Paul Podesta quietly while the composition I was given shape. In short, the work had begun to be tested, had already set a date, and Garcia Velloso had not informed his father that he had taken the manuscript, much less to Don Martin Coronado completely ignored the situation.
So the young Garcia Velloso prefer to deal directly to the author, before admitting the situation to his father, and without saying that the work already being tested, Soria concurs with the clerk that Coronado was in a dilapidated building Alsina Street, opposite the Church of San Ignacio, where the author found sitting at his desk "as ancient as the ceiling beams that threatened ruin ..."
When Coronado was comical take notice of his work Creoles represent the response was: "- Unable to impossible ...!!!". ..!!! He said this by clicking on the wooden desk with an awl to pierce the paper. Soria
then offers to Don Martin to allow testing of the work without announcing to the public, and without any obligation, to attend a trial, so that if the construction looks good, grant the permit, and if he thought, would forbid and "such good friends as ever" . Don Martin
Ignorant that the work already being tested, García Velloso says that the only extant manuscript was that his father had saved on the desktop, since the original itself retaining the author was blurred and unreadable. The copy held by García Velloso had been copied "in two colors" by the author.
Upon leaving the clerkship, Garcia Velloso and Soria was sworn maintain absolute silence about what happened, in order to prevent Podesta or father found out.
Finally, when the work was almost ready for the premiere, attended Don Martin, who after witnessing the admirable and careful interpretation, could not deny the permit. The work was premiered on June 16, 1902 and is one of the theater's initial attempts to Argentine start adult stage. The work presented to a generational conflict which also underlies the presence of a strain of social nature. The main roles in this release were made by:
- Don Lorenzo Antonio Podesta
- Don Pedro: John Podesta
- Pascual, José J. Podesta
- Elijah: Humberto Scotti
- Leonor: Herminia Mancini
- Carlos: José Petray
- Rosa: Read Conti
- Manuel: Pablo Podesta
- Alejo, Arturo Navas
- Matea: Esther Podesta
-Ciriaco Humberto Coronado Torterolo
Martin (6/4/1850 to 2/20/1919) was born in Buenos Aires and died Caseros, Buenos Aires, in the town that bears his name, where he owned a farm where he lived the last years of his life, held for health reasons. There he received the brief visits from his friends.
Pablo Podesta (11/22/1875 to 4/23/1923) was born in Montevideo and died in Buenos Aires. Remember Pablo José Antonio Saldías making dramatic and tragic leading roles in a stunning realism and unsurpassed comic performances, being temperamental person of character. Without having studied music, composed and played guitar "remarkably clean tap and fairness." Two of his most transcendent are inspired styles: "The stone of the Scandal" and "Santos Vega".
style "the stone of scandal" was very popular in the early twentieth century. These data above we can say that the letter was written by Martin Coronado around 1891 and the music composed by Paul Podesta to 1902.
He was known by various names: "The stone of scandal", which is the name of the play, "Rock of Scandal," "The stone of scandal", etc.
test of its popularity is the remarkable number of recordings of the
est ilo were recorded from the prince of the century to the latest version it was recorded by Ignacio Corsini on Friday March 20, 1931. This version was published in Disco Nacional Odeon No. 18638, and again on different occasions. Etiquedas this commentary illustrates the edition of 1934. Corsini previously had made a sound recording of that style is retained in a sample disc. Those who had the opportunity to listen to the sample considered that the interpretation of Corsini was extraordinary.
way of enumeration, which is not exhaustive, of the occasions on which this work was carried wax, we can mention the following recordings: Angel Villoldo
- Columbia Disc No. T17 - The stone Scandal - Matrix 08767-1-5 - Accompanied by piano. Buenos Aires. Circa 1907
- Disco Odeon No. 41570 - The stone of scandal - Matrix Xba78 - Accompanied by piano. Buenos Aires.
1908 - Disco Victor N º 62195 A - The stone of scandal - accompanied with orchestra. - Matrix F-6 - Buenos Aires. 12/23/1907 (Published also in disk Victor 98304)
Flora Rodriguez de Gobbi Hortensia
- Bell Edison Cylinder No. 9032 - The Stone of Scandal - (Matrix 2M-9032). London. July 1906
- Edison cylinder N ° A 7019 - The Stone of Scandal - (4M Matrix-7019). New York. 1909. (Published also in Edison Blue Amberol Cylinder No. BA 22 163)
- Disco Victor N ° 3185 - The stone of scandal - (Matrix B-3574) - Philadelphia. Pennsylvania - USA - 24/7/1906
- Disco Relsie Record No. 168 - Scandal Stone - (matrix 20029) - Served with orchestra.
Ignacio Corsini - Sample Disc Acoustic - The Stone of Scandal (Matrix and date unknown. Circa 1920) - Accompanied by guitars. (Possibly José María Aguilar)
- Disco Nacional Odeon - No. 18638 A - The stone of Scandal (Matrix 6350) - Buenos Aires. 20/3/1931 - Accompanied by Pagés, Weigle and Maciel.
Diego Munilla
- Gramophone Disco No. 62250 - Stone Escandalo - Matrix 4751st - Paris. 1905. (Published also in Victor record album No. 3116 and Victor 62175)
- Gramophone Disco No. 62278 - a stumbling block - Matrix 2035e - London. 17/4/1905 - Accompanied by the Banda Real Militar. (Published also in Victor album - N ° 3124 and Victor 62183 Disc)
Carlos M. Pacheco
- Grand Disco Era Record No. 60131 - The Stone of Scandal - Adaptation cocolichesca with guitar accompaniment. Buenos Aires. Circa 1910
- Disco Victor No. 62861 - The Scandal of the Stone: sung by a gringo - (Matrix R - 521) - Carlos M. Pacheco and Eugenio Lopez. Buenos Aires. 4/3/1910
The sample
to the left of this text can hear the restored and mastered the style interpretations made by Angel Villoldo (columbia Disco / Disco Victor), by Flora Hortensia Rodriguez Gobbi (Disco Relsie Record) and finally an excerpt from the version that Ignacio Corsini conduct of the work in 1931.
A curious fact in the first version of Villoldo recorded for Columbia that can be seen in the sample posted, is that after the middle of interpretation, we see an acceleration in the speed of recording, and toward the end becomes more pronounced until the final chords of the piano which greatly accentuated. This actually is because during the recording process, the mechanism of the recording machine on which turned the wax matrix, began to fail and slow down increasingly, more and more accentuated until the end of the shot. The last line is recorded with the speed almost completely diminished.
- "Study of the discography of Ignacio Corsini" - S. Nicolas Lefcovih - edition of the author.
- "The unforgettable bohemian Buenos Aires" - José Antonio Saldías - Editorial Freeland, 1968
- "Ignacio Corsini, my father" - Dr. Ignacio Corsini h. - Editorial Todo es Historia, 1979
- "Circus, theater and tango gaucho" - Raul H. Castagnino - Institute
Na tional Theatre Studies, 1981
- "The Circus Creole" - Raul H. Castagnino - Editorial Lajouanne, 1953
- "Memoirs of a man of the theater" - Enrique García Velloso - EUDEBA, 1960
- "The stone of scandal Martín Coronado: generational conflict and typological study" - Guillermo García - Faculty of Science Affairs of the University of Lomas de Zamora. Speculum. Journal of Literary Studies No. 33, 2006. (To see this work enter HERE )
- Encyclopedic Discography of Victor Recordings
season in 1918, Ignacio Corsini makes some appearances at the Teatro Politeama
acting company member of the Podesta brothers, starring roles in the plays" The stumbling block "and" The farm of Don Lorenzo " Martin Coronado, and "hidden law" by Claudio Martínez Payva. However this was not the first time participating in "The stumbling block," since the end of 1916, the Don Pepe opened the Summer Theater Podesta, said work was performed with the participation of the role Corsini Manuel. The Summer Theatre was built by Peter Podesta on the site of an old corral was outdoors, and was located in San Juan and Entre Ríos, opposite the police station 18 of the Federal Police. The reports
Pepe Podesta (cited by Dr. Ignacio Corsini h.), the father of Circo Criollo recalls this season and refers to the Theatre Summer saying it was "... an entirely local Outdoor Erto, minus the stage. More than once had to defend ourselves from the cold, wind and rain, and the crowd was sometimes the show with umbrellas open, encouraging artists to not to interrupt the "
Ignacio Corsini, at that time was a resident of the neighborhood, and lived in the house on the corner of San Juan and Solis, along with his wife Victoria Pacheco and their young son Ignacio, and met fellow art-cafe in a store that was located in San Juan and Entre Rios.
In 1918, the company Politeama and passed to the March 30 premiere, "The farm of Don Lorenzo" by Martin Coronado, which is a continuation of "stumbling block", where once again Ignacio Corsini, plays the role of Manuel. The work was well received by the audience cheered the opening night the author and the performers. Originally
paper was offered by Martin and Pepe Coronado to the great actor Paul Podesta Podesta, who had released "The stumbling block" in 1902 and had given life to the role of Manuel, but Paul was at that time conducting a successful season in modern theater, and thus he offered to replace Ignacio Corsini the role originally intended for Paul Podesta, which undoubtedly proves the acting chops of singer Knight. In his "Memoirs of a theater man, Enrique García Velloso, recalls the figure of Martin Coronado and the details surrounding the creation of" stumbling block "and the circumstances of their subsequent screening. Remember
García Velloso, the original manuscript of the work - which was written in verse, was read for the first time in a meeting at the home of Rafael Obligado around 1891.
were present at that meeting "... Calixto Oyuela, the Mexican diplomat novelist Federico Gamboa, minister at the time in Buenos Aires, Leopoldo Diaz, slender, elegant, pointed black beard and mustache of a musketeer, the Chilean poet Puelma Tuper, recently married a Viola Navarro, Ernesto Quesada, whose i mponente stature came from a group formed by Juan Antonio Argerich, Carlos Vega Belgrano and D iego Fernández Spiro, and in an angle the room, talking and Domingo Soto y Calvo Martinto.
The manuscript was taken by García Velloso, who by then a teenager, on behalf of his father's house Rafael Obligado to the time set for the gathering: half past nine p.m.. The trip was made by tram horses, from the Canyon
Santa Lucia to the street Alsina, which gave him time to read and act through the work, being most interested in knowing the end of the second act. So, remember that continued reading in the light of stained glass windows of a colonial house that was located on the corner of Alsina and Cambaceres (current Bernardo de Irigoyen), where he was an old shop that sold ponchos and clothing for country people . At that gathering, was read in the presence of Don Martin Coronado "The stumbling block." The young Garcia Velloso, who watched the scene through the windows of an adjacent desk remembers the highlight of the meeting:
"Suddenly there was silence and my father, who had a right to Don Martin Coronado, began reading the dimension of the scene for the first act of The Stone of scandal. Came to my verses rounded, easy, surround music, saw the faces of the listeners denoting an interest without fatigue, I saw my father stac ar moments of overflowing emotion or romantic, I saw Don Martin, staring at the carpet, stroking his goatee nervously and white ... When he finished reading the first act, all surrounding the grateful poet in monosyllables, with that nasal voice over and those children's gestures, congratulations from the audience ... "
However, the original manuscript of" The stumbling block, however remained returned to the same father's desk drawer Enrique García Velloso, where he remained eleven years awaiting their fate. There was a failed attempt to perform it in 1896, but this was unsuccessful.
By 1902, the company of the Podesta brothers performed a successful season at the Apollo Theater. Don Pepe Podesta had rented a room that paltry sum, which by then was in a complete state abandonment. Enrique García Velloso
offers "The stumbling block" to Pepe Podesta and Ezequiel Soria-director of the Podesta brothers' company, "but if the consent of the author.
Rescue and the manuscript was still in her father's desk and brought it to Don Pepe. However, the fact that the work was not written in prose genre objections by Podesta, who felt that his players did not have enough versatility for verse drama.
But Garcia insisted hairy enough to pass the reading Soria: "Start reading, to read, nothing is lost; enterémonos first what is the work and then discuss whether they can oo represent the actors in this company. "
It goes without saying that reading was a success and that Don Pepe that evening read the most important parts to his brothers Antonio, John and Paul. The latter was so impressed with the character of Manuel, and the lines indicated that the work should be sung by the character in Act II, which immediately began to compose music that would become known to name of "style of scandal."
Remember García Velloso, who heard him sing permanently Paul Podesta quietly while the composition I was given shape. In short, the work had begun to be tested, had already set a date, and Garcia Velloso had not informed his father that he had taken the manuscript, much less to Don Martin Coronado completely ignored the situation.
So the young Garcia Velloso prefer to deal directly to the author, before admitting the situation to his father, and without saying that the work already being tested, Soria concurs with the clerk that Coronado was in a dilapidated building Alsina Street, opposite the Church of San Ignacio, where the author found sitting at his desk "as ancient as the ceiling beams that threatened ruin ..."
When Coronado was comical take notice of his work Creoles represent the response was: "- Unable to impossible ...!!!". ..!!! He said this by clicking on the wooden desk with an awl to pierce the paper. Soria
then offers to Don Martin to allow testing of the work without announcing to the public, and without any obligation, to attend a trial, so that if the construction looks good, grant the permit, and if he thought, would forbid and "such good friends as ever" . Don Martin
Ignorant that the work already being tested, García Velloso says that the only extant manuscript was that his father had saved on the desktop, since the original itself retaining the author was blurred and unreadable. The copy held by García Velloso had been copied "in two colors" by the author.
Upon leaving the clerkship, Garcia Velloso and Soria was sworn maintain absolute silence about what happened, in order to prevent Podesta or father found out.
Finally, when the work was almost ready for the premiere, attended Don Martin, who after witnessing the admirable and careful interpretation, could not deny the permit. The work was premiered on June 16, 1902 and is one of the theater's initial attempts to Argentine start adult stage. The work presented to a generational conflict which also underlies the presence of a strain of social nature. The main roles in this release were made by:
- Don Lorenzo Antonio Podesta
- Don Pedro: John Podesta
- Pascual, José J. Podesta
- Elijah: Humberto Scotti
- Leonor: Herminia Mancini
- Carlos: José Petray
- Rosa: Read Conti
- Manuel: Pablo Podesta
- Alejo, Arturo Navas
- Matea: Esther Podesta
-Ciriaco Humberto Coronado Torterolo
Martin (6/4/1850 to 2/20/1919) was born in Buenos Aires and died Caseros, Buenos Aires, in the town that bears his name, where he owned a farm where he lived the last years of his life, held for health reasons. There he received the brief visits from his friends.
Pablo Podesta (11/22/1875 to 4/23/1923) was born in Montevideo and died in Buenos Aires. Remember Pablo José Antonio Saldías making dramatic and tragic leading roles in a stunning realism and unsurpassed comic performances, being temperamental person of character. Without having studied music, composed and played guitar "remarkably clean tap and fairness." Two of his most transcendent are inspired styles: "The stone of the Scandal" and "Santos Vega".
style "the stone of scandal" was very popular in the early twentieth century. These data above we can say that the letter was written by Martin Coronado around 1891 and the music composed by Paul Podesta to 1902.
He was known by various names: "The stone of scandal", which is the name of the play, "Rock of Scandal," "The stone of scandal", etc.
test of its popularity is the remarkable number of recordings of the
est ilo were recorded from the prince of the century to the latest version it was recorded by Ignacio Corsini on Friday March 20, 1931. This version was published in Disco Nacional Odeon No. 18638, and again on different occasions. Etiquedas this commentary illustrates the edition of 1934. Corsini previously had made a sound recording of that style is retained in a sample disc. Those who had the opportunity to listen to the sample considered that the interpretation of Corsini was extraordinary. way of enumeration, which is not exhaustive, of the occasions on which this work was carried wax, we can mention the following recordings: Angel Villoldo
- Columbia Disc No. T17 - The stone Scandal - Matrix 08767-1-5 - Accompanied by piano. Buenos Aires. Circa 1907
- Disco Odeon No. 41570 - The stone of scandal - Matrix Xba78 - Accompanied by piano. Buenos Aires.
1908 - Disco Victor N º 62195 A - The stone of scandal - accompanied with orchestra. - Matrix F-6 - Buenos Aires. 12/23/1907 (Published also in disk Victor 98304)
Flora Rodriguez de Gobbi Hortensia
- Bell Edison Cylinder No. 9032 - The Stone of Scandal - (Matrix 2M-9032). London. July 1906
- Edison cylinder N ° A 7019 - The Stone of Scandal - (4M Matrix-7019). New York. 1909. (Published also in Edison Blue Amberol Cylinder No. BA 22 163)
- Disco Victor N ° 3185 - The stone of scandal - (Matrix B-3574) - Philadelphia. Pennsylvania - USA - 24/7/1906
- Disco Relsie Record No. 168 - Scandal Stone - (matrix 20029) - Served with orchestra.
Ignacio Corsini - Sample Disc Acoustic - The Stone of Scandal (Matrix and date unknown. Circa 1920) - Accompanied by guitars. (Possibly José María Aguilar)
- Disco Nacional Odeon - No. 18638 A - The stone of Scandal (Matrix 6350) - Buenos Aires. 20/3/1931 - Accompanied by Pagés, Weigle and Maciel.
Diego Munilla
- Gramophone Disco No. 62250 - Stone Escandalo - Matrix 4751st - Paris. 1905. (Published also in Victor record album No. 3116 and Victor 62175)
- Gramophone Disco No. 62278 - a stumbling block - Matrix 2035e - London. 17/4/1905 - Accompanied by the Banda Real Militar. (Published also in Victor album - N ° 3124 and Victor 62183 Disc)
Carlos M. Pacheco
- Grand Disco Era Record No. 60131 - The Stone of Scandal - Adaptation cocolichesca with guitar accompaniment. Buenos Aires. Circa 1910
- Disco Victor No. 62861 - The Scandal of the Stone: sung by a gringo - (Matrix R - 521) - Carlos M. Pacheco and Eugenio Lopez. Buenos Aires. 4/3/1910
The sample to the left of this text can hear the restored and mastered the style interpretations made by Angel Villoldo (columbia Disco / Disco Victor), by Flora Hortensia Rodriguez Gobbi (Disco Relsie Record) and finally an excerpt from the version that Ignacio Corsini conduct of the work in 1931.
A curious fact in the first version of Villoldo recorded for Columbia that can be seen in the sample posted, is that after the middle of interpretation, we see an acceleration in the speed of recording, and toward the end becomes more pronounced until the final chords of the piano which greatly accentuated. This actually is because during the recording process, the mechanism of the recording machine on which turned the wax matrix, began to fail and slow down increasingly, more and more accentuated until the end of the shot. The last line is recorded with the speed almost completely diminished.
Once printed the disc, when it plays at a constant speed, the parties recorded a lower angular velocity, we hear "more accelerated," meaning that the "default" speed reduction recording, produces an "effect" in reproduction opposite.
recall that the equipment used for burning discs at the time was recorded making Villoldo for Columbia Records, were not driven by power or by wind-up mechanism, as they could produce vibrations that distort the recording and decreased quality. Actually used a system of checks and balances that produced the motion needed to drive the mechanism spinning the plate where the plate was wax. Sources- "Study of the discography of Ignacio Corsini" - S. Nicolas Lefcovih - edition of the author.
- "The unforgettable bohemian Buenos Aires" - José Antonio Saldías - Editorial Freeland, 1968
- "Ignacio Corsini, my father" - Dr. Ignacio Corsini h. - Editorial Todo es Historia, 1979
- "Circus, theater and tango gaucho" - Raul H. Castagnino - Institute
Na tional Theatre Studies, 1981 - "The Circus Creole" - Raul H. Castagnino - Editorial Lajouanne, 1953
- "Memoirs of a man of the theater" - Enrique García Velloso - EUDEBA, 1960
- "The stone of scandal Martín Coronado: generational conflict and typological study" - Guillermo García - Faculty of Science Affairs of the University of Lomas de Zamora. Speculum. Journal of Literary Studies No. 33, 2006. (To see this work enter HERE )
- Encyclopedic Discography of Victor Recordings
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