The Spain's force is here! █▒ ███▒ ██▒ ▄████████▒ ███▒ █████████▒ 2004 ████▒ ▄████▒▄████▒ ████▒▄██████▒█████████▒ ████████▒ █████▒██████▒ ████▒██████▒ █████████▒ ▄█████]█▒ ██▒ ██▒ ██▒████▒███▒ ████_[ ████I& ██████▒███████▒████▒███▒ ███_fI█▒ ████]da ████▒ ███▒ ███▒███▒████▒ ██_ef[ ████ c ",█████▒ ███▒ ███▒██▒██████▒█y' 6███▒ ███▒ & ▀`&█████▒███▒ ███▒█▒ █████r▀█ ▓ ████▒ ██▒ ▓g *, ██▒ ,' y! & ! █▒ ▓L *, ,**~▄██▒~~=x_ _,* ▓▓ ! & ,░'* B[ ░ ▓█p *., -* ,▓▓f ░ [B *'░, 9░ p █ ▒ ██▓' & P . ▓██▓ ▒ █ p ░9 &░░█ ▒ █░ `███▓▓J' mf ▓~R ▓████▓' ░█ ▒ █░░& ░▒W ▒ ▓░░ ]▓██████▓▓ ▓███████▓' ░░▓ ▒ W▒░ ▒▒█▒ ░▒ ▓░░ , ]f▓▓▓████▓f ]▓█████▓[rI ░░ ▓░░M██▒▒ &Q▒▓█▒▒▒ ██░ ▓ █f ~▓▓▓▓▓ ▓▓▓▓▓! ]& g ░ ▒░ █▓▒Q& ▓▒0██ ▒▒██ ░] ▓] ▓█ _█▓ 1▓ ]░█ ▓░ ██0▒▓ '▒░░░▒ ▒███░ 1 f▓██ MP3 CREW ██▓_f] ░██ ▓▓▒░░░▒' ▒▒▒ 0██0# █ █▓▓█ ██▓P █ #0 00▒▒▒ ~~~` ], ▓▓█ Since 1999 █▓▓ _f ` ~~ █ ]▓█#, _#██▓f █ f\ ▓████g ███▓▓▓c ]f ░ █6 ▒▓█████ ` ∩ ████▓▓▒ & ░ ░░- ] ]▓▓▓▓███_ g███▓▓▓▓[ ! -░░ ░▓, f ]█" ▓▓█ █J_, ## ,R█M █▓▓^"█[ ]6 ,▓░ ░▒ █& ]f ▓▓g ^▓▓M#F▓▓ ▓▓▓ ^[ "█ ▒░ ░░ ░░▒ ~1 █L ▓▓##▓▓~` ~▓##▓▓8 j▓ ]6 ▒░░ ░░ █ _▓░░ █_▓█, `" "' y█▓pF ░░▓_ █ N ▓▓ ▒| `▓▓█g _█▓▓▓ |▒ ▓▓ N ░ ▓▒u░░ ▓▓███## ##███▓ ` ░░u▒▓ ░ +░ ▒▓▒ ▓▓███` [ ], ███▓▓ ▒▓▒ ░+ ▓▒ ░▒░ ▓▓█' ,r█ ' ` █*a ██▓ ░▒░ ▒▓ ▒▒░ ▓█ " ▓█ _█▓ " █▓▓ ░▒▒ ▒░ & ! ▓▓ _a M█ █~ -, ▓▓ ! & ░▒ ░ ,░'* B[ ░ ▓▓ ~7g ~█ █`_mP q▓ ░ [B *'░, ░ 9░ p █ ▒ ▓ "M ,a @' P ▒ █ p ░9 &░░█ ▒ █░ b J ░█ ▒ █░░& ░▒W ▒ ▓░░ ▓ ▓ ░░▓ ▒ W▒░ ▒▒██M░░▓▓░░ ]c y' ░░▓▓░░M██▒▒ &Q▒▓█ ░▒▓█░ `*qmm*r*mm*^ ░█▓▒░ █▓▒Q& ▓▒0██ ░▓▓█░] ]░█▓▓░ ██0▒▓ '▒░░░▒▓▓███░ P R E S E N T S ░███▓▓▒░░░▒' ▒▒▒00██0# #0██00▒▒▒ ~~~` `~~~ ░ ░ -░░+ Holst Music for Two Pianos (Naxos 554369) +░░- ,▓░ ░▓, ▒░ Release Date:14-05-2005 ░▒ ▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒ ░░▓_ █▒ Company:Naxos ▒█ _▓░░ |▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒| ░░u▒▓ ░█▒ Year:1998 ▒█░ ▓▒u░░ ▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒ ░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░ ░ ▓▒▒▒░ Songs:08 ░▒▒▒▓ ░ ▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒ ▓██░ ░ ░ ░██▓ █▓▒ ▒, Track List: ,▒ ▒▓█ █ ▒▒ ▒▒ █ ▓ ░▓ ▒▒░ 01 - The Planets Op.32 - Mars, the Bringer of W [06:47] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 02 - The Planets Op.32 - Venus, the Bringer of [07:07] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 03 - The Planets Op.32 - Mercury, the Winged Me [03:51] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 04 - The Planets Op.32 - Jupiter, the Bringer o [07:46] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 05 - The Planets Op.32 - Saturn, the Bringer of [07:09] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 06 - The Planets Op.32 - Uranus, the Magician [05:52] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 07 - The Planets Op.32 - Neptune, the Mystic [06:12] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 08 - Ballet Form the Perfect Fool Op.39 [10:45] ░▒▒ ▓░ ▓ ░ ▒ _▒░ ░▒_ ▒ ░ ▒▒ ▓▓ ▓▓ ▒▒ ░▒█ ▓▒u░ Total Length : [55:29 min ░u▒▓ █▒░ ░▒▒ ░ ▒▓█ █▓▒ ░ ▒▒░ ▒#▒ ░N░█ █░N░ ▒#▒ ▒ ▒▒ ▓▓░ ░▓▓ ▒▒ ▒ ▒9█ ▒ ▒ █9▒ ░# S█ ▒ ▒ █S #░ ░+▓█a a█▓+░ ▒░▓▓▓░░ ░░▓▓▓░▒ ▒ 9▓a▓▓ ▓▓a▓9 ▒ * ░ ▒▓░█ █░▓▒ ░ * ▒░░ ▓█▓ ▓█▓ ░░▒ ▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒ ▒░▒ # # ▒░▒ ▒░ ▒ - Len Vorster, Piano ▒ ░▒ ▒░ ▒ - Robert Chamberlain, Piano ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ === The Planets, Op.32 === ▒ ░▒ ▒░ ▒ === Ballet from the Perfect Fool, Op.39 === ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Born in Cheltenham, Gloucestershire, Gustavus ▒ ░▒ ▒░ ▒ Theodore von Holst came from a family of mixed ▒ ░▒ ▒░ ▒ English, German, Russian and Swedish origin, his ▒ ░▒ ▒░ ▒ great-grandfather, a lesser contemporary of ▒ ░▒ ▒░ ▒ Beethoven and Chopin, having emigrated from Riga in ▒ ░▒ ▒░ ▒ Latvia during the Napoleonic Wars. In 1893, ▒ ░▒ ▒░ ▒ following an asthmatic boyhood spent learning the ▒ ░▒ ▒░ ▒ piano, directing village choirs and tackling ▒ ░▒ ▒░ ▒ Berlioz's treatise on orchestration, he was sent at ▒ ░▒ ▒░ ▒ his father's expense to London and the Royal College ▒ ░▒ ▒░ ▒ of Music. Here he studied under the German-trained ▒ ░▒ ▒░ ▒ Charles Villiers Stanford, who thought little of his ▒ ░▒ ▒░ ▒ talent, and met Vaughan Williams, soon to become his ▒ ░▒ ▒░ ▒ closest friend and mentor. ▒ ░▒ ▒░ ▒ In late Victorian London, with its music-halls, ▒ ░▒ ▒░ ▒ Gilbert and Sullivan operettas and varied cultural ▒ ░▒ ▒░ ▒ life, the period of Oscar Wilde and of Bernard ▒ ░▒ ▒░ ▒ Shaw's music criticism, he "dreamed... ate and ▒ ░▒ ▒░ ▒ drank" Wagner at Covent Garden, read Hindu ▒ ░▒ ▒░ ▒ philosophy, taught himself Sanskrit, came under the ▒ ░▒ ▒░ ▒ spell of the pre-Raphaelite William Morris, and met ▒ ░▒ ▒░ ▒ his future wife, "the lovely, sunny-haired" Isobel ▒ ░▒ ▒░ ▒ Harrison, youngest soprano with the Hammersmith ▒ ░▒ ▒░ ▒ Socialist Choir. As a jobbing trombonist, ▒ ░▒ ▒░ ▒ bespectacled and good-humoured, despite the worries ▒ ░▒ ▒░ ▒ of Henry Wood that his "delicate" constitution was ▒ ░▒ ▒░ ▒ "not phisically fitted" to the demands of the ▒ ░▒ ▒░ ▒ instrument, he found seasonal work playing the ▒ ░▒ ▒░ ▒ seaside resorts in summer and pantomime in winter, ▒ ░▒ ▒░ ▒ eventually, on leaving college in 1898, earning a ▒ ░▒ ▒░ ▒ living at the crisis-ridden Carl Rosa Opera Company ▒ ░▒ ▒░ ▒ (staging operas in English), before going on to tour ▒ ░▒ ▒░ ▒ with the New Scottish Orchestra. ▒ ░▒ ▒░ ▒ During spare moments he would keep his hand in at ▒ ░▒ ▒░ ▒ composition with easy-on-the-ear theatre pit ▒ ░▒ ▒░ ▒ entertainment, works such as the unashamedly ▒ ░▒ ▒░ ▒ un-snobbish "Suite de Ballet". ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ In 1903 this rooming-house, rank-and-file existence ▒ ░▒ ▒░ ▒ was exchanged for one more domestically stablising ▒ ░▒ ▒░ ▒ and financially secure, the life of a teacher. As ▒ ░▒ ▒░ ▒ Director of Music at both St. Paul Girl's School ▒ ░▒ ▒░ ▒ Hammersmith from 1905 to 1934 and Morley College, ▒ ░▒ ▒░ ▒ south of the river in Kennington, from 1907 to 1924, ▒ ░▒ ▒░ ▒ Holst became responsible for nurturing generations ▒ ░▒ ▒░ ▒ of young people and "working men and women" to ▒ ░▒ ▒░ ▒ "learn by doing". To his social disconfort, ▒ ░▒ ▒░ ▒ establishment reward, appointments at the Royal ▒ ░▒ ▒░ ▒ College of Music and University College, Reading, ▒ ░▒ ▒░ ▒ and an "overwhelming" Holst Festival in Cheltenham ▒ ░▒ ▒░ ▒ came his way in the 1920s, followed by the Gold ▒ ░▒ ▒░ ▒ Medal of the Royal Philharmonic Society in 1930 and ▒ ░▒ ▒░ ▒ in 1932 a visiting lectureship at Harvard, evidence ▒ ░▒ ▒░ ▒ of his popularity in America. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Robbing English musical life of one of its kindlier, ▒ ░▒ ▒░ ▒ wiser presences, his death in May 1934, within ▒ ░▒ ▒░ ▒ months or even weeks, of those of Elgar and Delius, ▒ ░▒ ▒░ ▒ left friends and colleagues desolate, and at least ▒ ░▒ ▒░ ▒ one, Vaughan Williams from his college days, ▒ ░▒ ▒░ ▒ lastingly bereft. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Writing mostly at weekends or during the August ▒ ░▒ ▒░ ▒ holidays, Holst the teacher, like Liszt the pianist, ▒ ░▒ ▒░ ▒ Mahler the conductor, Rachmaninov the virtuoso in ▒ ░▒ ▒░ ▒ exile, was typical of the part-time composer. ▒ ░▒ ▒░ ▒ Valuing "the company of honourable men", rejoining ▒ ░▒ ▒░ ▒ in "the fantastic unexpectedness of life", he was, ▒ ░▒ ▒░ ▒ his daughter Imogen tells us, an unfailingly ▒ ░▒ ▒░ ▒ practical music-maker, "endlessly patient" with ▒ ░▒ ▒░ ▒ amateurs, "ruthless" with professionals. ▒ ░▒ ▒░ ▒ Mendelssohn, Grieg and Wagner (on his own ▒ ░▒ ▒░ ▒ admission), Purcell, Gilbert and Sullivan, Byrd, the ▒ ░▒ ▒░ ▒ Tudor and Jacobean madrigalists, the English ▒ ░▒ ▒░ ▒ folk-song revival, the non-Western from North Africa ▒ ░▒ ▒░ ▒ to India, modal pasts and polytonal presents, the ▒ ░▒ ▒░ ▒ playful and the contemplative, the emotional and the ▒ ░▒ ▒░ ▒ intellectual, Bach, were the disparate forces that ▒ ░▒ ▒░ ▒ helped shape his world and sound. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Publicly introduced by Adrian Boult at the Queen's ▒ ░▒ ▒░ ▒ Hall in Langham Place on the 15th November 1920, ▒ ░▒ ▒░ ▒ "The Planets", composed between 1914 and 1916 "for ▒ ░▒ ▒░ ▒ large orchestra" (Naxos 8.550193), the ultimate ▒ ░▒ ▒░ ▒ week-end work, evolved against the omens, battles ▒ ░▒ ▒░ ▒ and fading lamps of the Great War. But even though ▒ ░▒ ▒░ ▒ some, such as the novelist Henry Williamson, claimed ▒ ░▒ ▒░ ▒ to hear in its pages the trauma of conflicts ▒ ░▒ ▒░ ▒ witnessed at first hand, it did not grow out of ▒ ░▒ ▒░ ▒ them. Medically unfit, Holst himself never saw ▒ ░▒ ▒░ ▒ active service. Rather, its inspiration and ▒ ░▒ ▒░ ▒ symbolism was astrological, the ascribed characters, ▒ ░▒ ▒░ ▒ associations and influences of the seven known ▒ ░▒ ▒░ ▒ planets (Pluto not then having been discovered). As ▒ ░▒ ▒░ ▒ Imogen Holst says, "the storm that sweeps through ▒ ░▒ ▒░ ▒ the [5/4] music [of Mars] is a storm in the mind... ▒ ░▒ ▒░ ▒ Holst had never heard a machine-gun when he wrote ▒ ░▒ ▒░ ▒ it, and the tank [first used at the Somme in 1916] ▒ ░▒ ▒░ ▒ had not yet been invented". ▒ ░▒ ▒░ ▒ Creative reservations aside, the suite proved a ▒ ░▒ ▒░ ▒ sensation, with three sets of 78rpm recordings alone ▒ ░▒ ▒░ ▒ released by 1926, the year of the General Strike. ▒ ░▒ ▒░ ▒ Tapping ancestrally, prophetically, into the mystic ▒ ░▒ ▒░ ▒ and the astral, imagination and myth, pagan man and ▒ ░▒ ▒░ ▒ old gods, nature and the cosmos, here was ▒ ░▒ ▒░ ▒ magisterial, picturesque yet avowedly ▒ ░▒ ▒░ ▒ non-programmatic music embracing the spiritual and ▒ ░▒ ▒░ ▒ epic, the gigantic, the remote. Resonating with a ▒ ░▒ ▒░ ▒ physicality, an impressionism, and association of ▒ ░▒ ▒░ ▒ vibrations, a subterraneam gravity, a "via lactea" ▒ ░▒ ▒░ ▒ delicacy, a virtuoso orchestral/timbral palette ▒ ░▒ ▒░ ▒ beyond Anglo-Saxon experiencie, even those ▒ ░▒ ▒░ ▒ cognoscenti tuned to the esoteric wave-lenght of ▒ ░▒ ▒░ ▒ Scriabin and the primeval, Stravinsky and the Nordic ▒ ░▒ ▒░ ▒ Sibelius found its vision all-consuming. The ▒ ░▒ ▒░ ▒ two-piano arrangement, the manuscripts of the ▒ ░▒ ▒░ ▒ movements variously distributed between the Royal ▒ ░▒ ▒░ ▒ College of Music (i, ii, v, vi, vii), Royal Academy ▒ ░▒ ▒░ ▒ of Music (iii) and British Library (iv-vi), was ▒ ░▒ ▒░ ▒ published in 1949. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The "Perfect Fool", written between 1918 and 1922, ▒ ░▒ ▒░ ▒ to Holst's own libretto, was a one-act comic opera, ▒ ░▒ ▒░ ▒ first performed under Eugene Goossens at Covent ▒ ░▒ ▒░ ▒ Garden on 14th May 1923. Set in "no particular ▒ ░▒ ▒░ ▒ country or period", but parodying the conventions of ▒ ░▒ ▒░ ▒ romantic grand opera, especially Verdi and Wagner, ▒ ░▒ ▒░ ▒ its opening ballet is all that remains in current ▒ ░▒ ▒░ ▒ repertory. Drawing on an incidental score to a play ▒ ░▒ ▒░ ▒ by Clifford Bax, brother of the composer Arnold Bax, ▒ ░▒ ▒░ ▒ "The Sneezing Charm", staged at the Royal Court ▒ ░▒ ▒░ ▒ Theatre in June 1918, as well as the "Intermezzo" ▒ ░▒ ▒░ ▒ from the "St. Paul's Suite" of 1912-13 (Naxos ▒ ░▒ ▒░ ▒ 8.550823), the three dances, played without a break, ▒ ░▒ ▒░ ▒ feature the Spirits of Earth, Water and Fire. ▒ ░▒ ▒░ ▒ Summoned by a Wizard, a (baritone) figure descended ▒ ░▒ ▒░ ▒ from "Uranus", Earth is brought to life by a famous ▒ ░▒ ▒░ ▒ 7/8 tune rising Nibelung-like from the deep, in Sir ▒ ░▒ ▒░ ▒ Donald Tovey's metaphor, to explode in riotous ▒ ░▒ ▒░ ▒ brilliance. ▒ ░▒ ▒░ ▒ Lazy dragon-fly music of summer twilight sonority ▒ ░▒ ▒░ ▒ conjured out of some Morphean reach of the upper ▒ ░▒ ▒░ ▒ Thames, Water unfolds a scene of calm and haze, "the ▒ ░▒ ▒░ ▒ essence of love distilled from Aether". Cracking ▒ ░▒ ▒░ ▒ flame and cleansing heat is the imagery of Fire, a ▒ ░▒ ▒░ ▒ pulsating ostinato of the night. Holst conducted the ▒ ░▒ ▒░ ▒ first integral performance at the Royal College of ▒ ░▒ ▒░ ▒ Music in Kensington Gore on 30th June 1921. His ▒ ░▒ ▒░ ▒ unpublished transcription for two pianos is held by ▒ ░▒ ▒░ ▒ the College library (MS 4547). ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ - Len Vorster - ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Len Vorster left South Africa for Australia in 1983 ▒ ░▒ ▒░ ▒ and has since established himself as a leading ▒ ░▒ ▒░ ▒ pianist an accompanist, in the latter capacity ▒ ░▒ ▒░ ▒ appearing with singers and instrumentalist of the ▒ ░▒ ▒░ ▒ greatest distinction. He made his concerto début ▒ ░▒ ▒░ ▒ with the Cape Town Symphony Orchestra and in June ▒ ░▒ ▒░ ▒ 1996 gave the first performance of Michael Easton's ▒ ░▒ ▒░ ▒ "Concerto on Australian Themes" with the Chamber ▒ ░▒ ▒░ ▒ Orchestra of Geelong, a work which he has since ▒ ░▒ ▒░ ▒ performed in Italy, Hungary and Germany. He has a ▒ ░▒ ▒░ ▒ number of recordings to his credit and is on the ▒ ░▒ ▒░ ▒ staff of Melbourne University and the Victorian ▒ ░▒ ▒░ ▒ College of the Arts, serving also as Artistic ▒ ░▒ ▒░ ▒ Director of the Port Fairy Spring Music Festival. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ - Robert Chamberlain - ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ A pupil of Max Cooke at the University of Melbourne, ▒ ░▒ ▒░ ▒ the pianist Robert Chamberlain studied further in ▒ ░▒ ▒░ ▒ Vienna and the Banff Centre for the Arts in Canada. ▒ ░▒ ▒░ ▒ He enjoys a busy and successful career as a soloist, ▒ ░▒ ▒░ ▒ chamber musician and accompanist, with broadcasts, ▒ ░▒ ▒░ ▒ recordings and concert appearances and collaboration ▒ ░▒ ▒░ ▒ with some of the best young singers and ▒ ░▒ ▒░ ▒ instrumentalist in Australia. He is a partner in the ▒ ░▒ ▒░ ▒ Melbourne-based Team of Pianist, with which he has ▒ ░▒ ▒░ ▒ also recorded. Robert Chamberlain teaches as a ▒ ░▒ ▒░ ▒ member of the piano staff of the Department of Music ▒ ░▒ ▒░ ▒ at Monash University and at the University of ▒ ░▒ ▒░ ▒ Melbourne. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Recorded at the Iwaki Auditorium, ABC Centre, ▒ ░▒ ▒░ ▒ Melbourne, Australia, on 5th and 12th July, 1997. ▒ ░▒ e░██ ██ ██ ██░e ▒░░▒e▒▒▒ ██ ██░e ▒░░▒e▒▒▒ ██ ██░e ▒░░▒e▒▒▒ ╔═════════════════════╗ ▒▒▒e▒░░▒ #░░ ▒ ║ Greetings To: ║ ▒ ░░# ▓ i░ ╚═════════════════════╝ ░i ▓ █▒ ▒█░ ░█▒ ▒█ █ █░ Amok - cnmc - AMRC - ViC - ss - tfamp3 - MTM - WoA ░█ █ ░▓ █ ░ FFF - BERC - NuHS - Tronik - DH - DRUM - aZTeK ░ █ ▓░ ▓▒ █*░ ░*█ ▒▓ ▓i█ ▓▓▓░# Especiales Saludos a Nuestros compatriotas de: #░▓▓▓ █i▓ ▒▓▓▒░ ░▒▓▓▒ ▓▒#░ &, StyLe ░#▒▓ ▓ ░░ #█W▓a ░░ ▓ ▓|░ ]M█▓&1 _ ░|▓ ▓ ~███M ,agMB##^MQw_ ▓ N▓▓█F% _pm▓▓▓DQ*"^"**%4&m ^&▓▓▓+p ,4KBQ0*^ "0@&, ▓ "#▓▓,^▓m*w,mpq#O#Mb&^ b#@N&▓▓ "-WQB███▓▓QRDN"~ mea▓qM███▓▓ ~^"~!^` `*▓▓█████▓ ~#&███▓f ^S██▓t Bw█▓ "Qp▓ R8▓ N uerzaspañola de eleasesndependientesonficiencia ^