ultimately I found some teachings of Beethovens in my way. And the question rose among some: How is it, that or if the B5.1 is to be considered a the most basic piece of music, just like lets say Homer’s writings are for literature? How is that? I do not know who is up to mess up the signal badly, like some nazi musicologists secrets publishing policy. Dealing with music a wonderful healing or black hat skillfully sabotage any healing with it. To say what definite prominence after a first look.
Here they say that he kept shitting under his piano. Well, he could have gotten some of rudolf seats in some decent modern social system of those.
Any way I dared and decided to share my thoughts, even just because everything I found on this is not congruent with my personal opinion on it. They are for what ever reason false. Says I. In it is to say that I am the avarage musically skilled. Kind of newbie anyway.
So who is it:
Or was it this that I found in the library: Konold: Ludwig van Beethoven. 1979, S. 179.
https://de.wikipedia.org/wiki/Theodor_W._Adorno More over I could not find anything to disagree about his mentioning him so far, for example in Minima Moralia and Dialektik der Aufklärung.
Well, this was what I ultimately have seen and that was what motivated mine to post here finally.
Ah forgot: I took a book on abc or the like of musicology, you know students basics, and read everything at it and on it. This is easy, it tells you something that is obvious, but they order it for you.
So short introduction: Form of the piece, such symphony thing, is called Sonatenhauptsatzform. And that is where you got set directly on the throne of the master him self, I mean not chamber pot unempty below his piano.
I at least got some midi from theo internet, as well as the scores, printed that stuff to paper and had some issue adulterating this midi. This is what I truely experimented, even so I would not commit right now. (;
You got in a symphony 4 movements, each one of 4 Underparts: Exposition, Durchführung, Reprise and Coda. Each one of those has again 4 underdivisions: Among them them the main theme and the so called Sidetheme, an one called Epilog.
The last one. The second one is called I mean Überleitung.
I like to find that you got once more 4 divisions of each. The last one is typically name cadence, which is kind of harmonic flow. That is applied as ending of a devision. Where it make duff, daff, duff, daff, dozens of times and does not come to an end, end, end, finally end.
So you got that? The 4. Movement for example has 444 bars. There is a long talk about number fetishism and you could imagine the maestro, like the bbc pointed out as a free lancer, who served prospective clients at a position of need. He contributed his own Extrablatt. And yes time of his living he was tambien one of this idiots ready for being breeded out by impecable society. In other words he delivered, yes, typical market ware, as a survival bet.
Then furthermore what came out in the film is that they are hired to glorify military battles, where man phantasize to in killing each other, so Beethoven hold this style. No fear for the maestro to have some ideas in the fantasy fighting each other out of that.
So, in the bbc report they told that beethoven was among the enlightenment people. And nothing; he perceived anyhing, kept his mouth bien shut, because of vienna secret antiterror police of this time and had a good opportunity to channel that into his music speak. Dr. Jänning could be satisfied so long.
That is, where dunno from whom, the understanding comes up that there is the battle of what mankind later learned to know as fascism. Anyway, B. gave it, the fifth symphony, the name „in tyrannis“, which is contra it. And I am very, very strong relying on it, too, even though I found it only reported in literature not declared directly. Beethoven was a tramp, might be true, but- he knew one napoleon before he reached to power, then B. distrusted him, that is what wikipedia explained. So imagine, he reckoned up with him napoleon ex-friend in a decent (phantasy) bloody battle, too.
Yes, and what is said about Napoleon, these were just first and earlier exemplars of a Nachwuchsabteilung of let us say happening arguably enlightenment empowered, namely today’s industries, be it military or be it music. So we got to talk right in Beethoven’s not less most famous, namely the 5.th. symphony movement one, let us have this as a focal point. This having them Beethoven and Napoleon posing, even presenting an however directed theater, to the public of their time, right?
Hm, then, in the bbc docu one professor said, that the conflict of the themes and the development of the conflicts is the heart of the piece. This true and key. They found 2,3 of the themes, melodies, in some pop songs of french revolutioners, viva la france, la liberte or the like. Maintheme 4. movement and sidetheme 1. Movement. It is to mention, that they above all were on search of the first motive: dadadaduu or even dadadadaa
Even though we need to concentrate on the 1. movement here, we want to find it the above stage, too. And in the stage above the above state. B6 for example has grown to 5 Movements. Now: Imagine, he was deaf. They found him writing on paper: „I am deaf.“ Let us assume he was totally deaf, when he wrote the fifth or before, ok? He felt first and even more then: he developed his work from pure math tune – at its heights, -which is tough admit for a consumer of his work. No joke, no wonder, Ludwig’s way, musics nature, human ghost’s nature, or not even the latter. Given contemporary -and eternal rules of harmony and composing, you imagine such piece unfoldment as a inverted card house fall together as a clockwork. Ludwig had his own engine for entertaining the folks, no question, that turns out to be – big deal- to be „the“ engine of music itself. Got that? One of this nuts thieves, but with deeply hate against corruption. Objectively seen with an infinite deep wish for incorrupsy if this is to be hold as a cognition theoretical thing. Well lets say B. should have treated his whores got, from whom he got Syphillis. But it seems logical that this man in this situation wanted to use a) a valve of what he was b) on fire- Let us assume that. Ok, lets, assume B. was even that leftist than Hitler.
So back to the schematics: He had to provide to those undign man eaters, dwarf praying clientela with fetish of 4 exponent 4 ware, within it kind of drama. So in the first first movement we got –
Well lets first divide the movements: In the first movement we encounter what is to be considered as fascism, the concept of fascism that lied buried in regular barbarism and got to flower with mass industry. It is what we investigate of it, and the conflict is irreconciable and effects horror. Next movement B. reconciles, Adorno explains this in MM with Takt, on a regular routine his consumers, with kind of holiday or hospital mode of the evelopment, cause no doubt the maestro will bring that matter to a solution, will he? He would. More or less you have per movement 8 melodies, but altogether you got per movement 2 melodies, set by the maestro, adulterating his default fetish production of his machine, the way how parts fall into subparts. So these melodies come back once and once again, hundreds of times as so called elaborations. Typically B. did, first diatonic elaboration to fill Durchführung part and then chromatic at Reprise. Prominently got to Dr. Jähning for being lazy and fetishist betrayer? Yes, but luckily he is already dead. For example http://www.elternassistenz.de/doku/Kutznerjudepress.htm, according what I read in the Bild newspaper there have been 6000 of these cases in Germany a year. Picturing them do the modern breeding. Luckily they did not catch Ludwig shitting under his piano. If not schnippschnippschnippschnapp. Hey, if everybody did as him that, where would we come to? The fourth movement is then something as triumph, but as well as duty fullfilling you got a fine conflict in it, too. How ever: 3. Movement is to be told a trio. I find nothing trio in it, he got the same 2 times 4, but then you find there within something disturbing as the professors noticed correctly. Kind motor saw roads. Yes, this is the fifth Movement, pregnant. Aha? Yes, they look as well anybody up, with kind of bad luck, but yes, if you for example publish opinions of arts. There is the contemporary case of this german Teppich-handler, who got hostile with a psychiatric medical at some local art discussion, and then needed to fight 17 years running away in these industrial propaganda landscapes. Thank you. Hoo.
Ok, back to civilization, 3. Movement beats faschism. In the Reprise 3.1,3.2,3.3 straight, straight to the point, that straight that it is time left for this 4 parted embrio motor chain saw monster thing between, and it seems a little as a stress test for the new found communication engine: B. brought that motor chain saws pretty soon to harmony. And then fortified, the found solution gets conveyed to or injected into the Triumph march a la france, alias 4. movement.
More or less, the high brow analysts failed in a few points. First one is to consider the rhythmic properly. 3.3 did the key rotation I said. I would like to demonstrate that shortly: imagine you got dadadaduu, ok? Which is the so called motive, everybody is upset upon. You got it from a beginning on, and as to be explained, it goes hitting you all day long by this path from the beginning to here. Ok?
Little history of dadadaduu development, first it came on short 2, short 3, short 4, long 1
From here is to tell.
and so repeatedly and in the cadences expectedly frequent long 1, long 1. between. Yes, that is, what one remembers of it all. As a early means against its problem, let us assume its misery it was shifted hardly perceived to 1,2,3,4 between: there in the cajon of one bar. Bars series to the above and up and through the voices, the nineteen voices. Every instrument knows to say dadadaduu or groups of instrument keep saying tatataduu to each others. dadadatuu was replaced in the 2. Movement for another theme, while in the 3. reappears identically. Where the 2. movement was the hospital movement, it even got to host this portion brutality, now to the position of sidetheme. This is rarely sensed to dive up as expression of „proud“. Of Pride. I am not perfectly sure, but I mean the professors of the bbc docu had found this tune among his french utopists, too. So imagine even this supplicant to be niced up for hospitality reasons. Aha? So the first thing that incorruptable B. issued is to give it the second seat. There it stayed till its final. So imagine the situation! Requirement is that the two ever varying melodies find together. So what happens with dadadaduu is that first it is no melody at all. And: it is a series of notes of equal heights. So the next bet is: to keep it integrated in a melody of these proposed daaduudoo, any of these gay singer manners it gets instantly nazi with. So if there is a manner on having the nazi one behave and have them communicate or synthesis with each other, then that would not a thing, that would not be initiated from the nazi one, nor would it for certain reason of his character one that could happen at the instant or to say: fast. So what happens in 3.3 when dadadadaa is to be given earned treat: They start play with his structure. Next you see it dadadaa, to be sure there would be no melody that kind. But then on the first short da, you could enhance some from before, now? Got daadadaa. Hey I do not know exactly, if for some growth or mirroring rule they occur with dadaada in the pace of the play. When you put these nearby: dadaa dadaa dadaa, so you are at ddaa ddaa ddaa after all the diatonization already heard and daa daa duu and voila daa duu doo and vive la france once more that long. One hears that transition so sublimely, incredibly power freeing at 3.3 and 3.4 and I wanted to share that with my contemporaries. And correct, what they say about olle Lugwig. (;
So what has happened out of the eyes of fashism, that anybody could express his songs as he wants and the anterior limiting power or quality has been mastered. Congrats.
Wow, how I got into talk all that?
Well next I announced correction of the first_ movement. They say dadadadaa origins from the fate or the wind hitting windows. Blabla says I. As simple deeds test gives back. When did you hear in your historic, personal and there talking about music emotional experience the sequence 1,2,3,4. For example, technicians when they test load speakers. Where did we know the sequence 1,2,3,4 from I ask. I ask everybody 1,2,3,4, that is from times the sequence goes from 1,2,3,4 to 1,2,3,4 1 1 1234 1 1 1 1, whole day, whole time, whole life? The way the people speak for example to dogs: Do what I say. I will count to three. To be true people treat them self by this pattern quite often. And more than ever if „command“ is in game. It is with certain reason the technique of command. Like for example Canetti pictured it in Masse und Macht. Warn 1, Warn 2, Warn 3, 4 event of evil.
So, after a while, I kept finding this objective. So let us dump our recent knowledge here. So trying to start the whole Take from here. What happens in the first movement at the very first bars, let us see bar number 1 to 5. Hm? What happened in bar one to five seems to to obscene a thing. It goes: 2341 2341_ . Sing: – I am your boss, – – – – I am your boss – – – – – – -. This chant let us imagine to resounded by a twisty combo of the 6. There come full package of voices out of the strings, and one from the winds, namely the clarinet. Six having the the violins counted twice. So imagine afters this fifth passed, after having them six proposed, what did they propose? A command is the freezing in front of the lions roar, a technique of death applied to oneself, not less, so lets assume they six came 5 bars of our time in attacking, right? Right. Somebody told that with this first five bars the whole movement is already „seeded“, well following musical theoretical rule of processing. So we could hold on an ask at this point, and ask how should that taking place, and even how could it? Why wont it? Would it even? The only thing to assume is that we will encounter if nothing the sweetest melody, going slowly 13131313, something easy and lovely, in order to show up oneself dadadadaa mainstream arguable to reach to, when confronted to, subjected to conversation so to say. So bar five. What is to acknowledge at the height of a bar five, is that there is no rhythmic tension, to disturb such a command orgy, well little, as the number of the bar is five, and we suppose that everything is gonna be packaged, well fold, in two, and there out come four, we however set our ending to a five. To combine those to needed a 20 bars then right? Well we got however a I mean a 500 of it. So what’s problem? Well the commodious thing, the disturbance of a 4 to 4 packaging harmony, to mistake a five for a four, will then so to say evelop its disturbation pathogenesis through out the take. Lets remember the 4 and 5 thing for later. That is to explain, in a best bet to prognosis, how musical processing takes in the later and last bars of the movement. We should at this point introduce a new figure in the concept: Gummi. Gespräch. Modulation. Taktisch. Tanzen. Singen. Sing the into the other. Tactical modulation problem of at least to voices: We got a side and a main theme for to speak with each other. So we got a Gespräch. The movement consists however of threads of conversation, not less, to an end, to what is a so awaited, harmonically or tactically, solution. So what is to say about this famous movement, is that it would not anyhow find – occasionally – a solution, but to expected to end up with an integratively incrementing a tension, however on cause of eveloping alternation, installing plateaus of a time window. Just the time span, when a ball thrown it rubber is stopped, somehow extended. But: You should pay for every moment that you live within the rubber, double in a surround alternating scheme. So be sure, that in this art work as it is not to be assumed offense for his human consumer, every piece of dadadadaa will be left spit out, with a arguable effort, but leaving amounted tension behind, as well a protest. So alternating out of the rubber, we got freedom from it rubber and a strong movement away from it, the stronger, the longer we have been inside, and we have been insight but a na a long time last playing, so catapulting out meets what happens to come out as final. This says nothing about that this talks had not been found in anyhow notable improvements, to bespeak each in detail later. If you count a tutti on 1 and 3 an nine time subsequently an improvement over just 1,1,1.. come out in sooner occasion. How is that insorportable a one voice is screaming the only left other one down? Out here!. Eh? So back about what is to say on 4 and 5. If you see bar 17 now, you found the pattern 123-4 between them 2341 prominent since so long. So if this constellation gives up questions, the question if you tuned an already loud contribution till bar 5 up to lets say – full power? – would be then decided with bar 17 1234 occurrence, that happens to fall as a five tones pattern to an one.
This is brush stroked him Beethoven like a kid shifting a thing like a checksum by lets say 1, – after a 17*4 tones of boredom-, thing with which you got a whole disorder. The conversation between these two father 2341 and his first and only son 1234 is that dominant, the will to reconcile that prevalent, that its processing effort and volume easily explodes the volume of the container movement, while nearby it overrolled a any sidetheme twice. The passages of „2341 pure“ on the one hand and these of „1234“ on the other hand both growingly oscillate, while the number of 1234 gonna be inferior to wit, however a stronger growing from a later getting around to. At the height of a bar 17 the ratio is 1/17 and cutted at the last bar at 498, (was it not something like 500?), right? Meanwhile seeking any water in the progress from 17-500, everything is overshadowed by this open conflict, and: this is to hang up here, being one of the main contributors that drive every tonage to the beat 1, that is what the music theory clock work outputs arguably shiny. It is that 2341 focuses in gather compensation with in series of (1—1—1—1…)*n on a transitory plateau (and to wit when the last tone get duplicatedly enhanced well to its very bar seat 1), cause „der objektive Geist ist das Verstummen“, Adorno Aphorismus Taubstummenanstalt. We are not yet there objectively. The other tendency to 1 derives from the fact that bass vamping usually goes to steady 1, so in this take. That is, to report is to that we found large passages in the piece, field that look like 1 1 1 1. mom: bar 190 till 250 for example: Is not that vast, a 12-20% percent of the movement go sterile tutututut, – and do we notice that under the loudness? In this case, this is to add this happened when putting on the side theme in the Durchführung. So you got it somewhat patched yet, at its repetition in the side theme of the coda once more. Well this is 17 here.
„One“ that is to add, because it is a my dictionary says: „vamped“ by a two base combo of Violoncello and Fagoti, starting from 7, just where the viola, did a solo answering in a conversation with these to violines the dadadadaa way. It is who after a 17 bars listening to it impostion, one disagreed child come between a bob the coin clockwork as for varying need. Well: if that had not happened by itself to bar five, from here indeed I would say the whole adulteration balance is hold in steady account: You got, I would bet, as many bars in the movement that contain 2341 pure, as where anyhow somehow is strayed a 1234 pattern against nearby. The latter, always if this happens cause amount of tension, that got no chance of a union, at least not in amount and pace procession of this symphony movement container.
Well and what more? An interesting task would be to picture each one conversation of them instruments and their building out of it according the theoretical tactical varying rules.
–>Damn I got a data loss a this stage.
-Well I talked about the sequence 5-17-20, the preemptive cause explosive and therefore destructive tendency of it dominant pattern, an usurper behavior of screaming louder to full power in case of any disturbance as shown to us before the subsequent tutti, first.
And second the sequence called flame, poop, metaphor for hope, oxygen apparatus, a production of an art work even, where a building of a three wind fagot, clarinet, oboe vamped the dominant pattern by a seven tones long sweet melody in the 1-3- rhythm pattern, before paying for it by a „catapulting“ at bar 491.
You could think of coins of behavior that normalized that soon are uniquely allowed in a coin machine of such design.
Yes, we found that.
If the coin machine is indeed a command machine and is without alternative, it could be a cause of despair.
Yes, that is deep despair, when the Oboe goes 295, starting the reprise, and mourning that the side theme as so little mattered and so little influenced, destroyed a former conversation partner in front of another, who took in mainly, el dadadadaa namely. And our relation to it, that its keeps destructiveness inhibited, alternativeless, surely at least for the volume of this movement.
Well here is where pain of despair pops up, swaps over, at mom 1.4.1. B. expressed despair on it and he hits the feeling of industrially pure percentage of people, in it. So these high brow professors around are simply not free enough from their owning „command machines“, the governing tyranis, to over come to that thinking stage.
So, whats more, shortly the story of the first movement. 1.1.3 Well after the commands fetish could present itself, its playmate had no chance for unfoldment. 1.2.1 No doubt in its glory went on showing off dadadadaa. It comes to what? In Wikipedia they call it Klangfläche. Surely you wont deal with such a out-and-out proposal at all. So the beethoven clockwork breaks down communication with that uninsightful delinquent. 1.2.2. The signal that you perceive, and I go with the corinths is: breathing. Berliotz said: Breathing of death threatened. Who is per definition the commanded person. Well dunno if it is a dying breath first. Could be that, too. Yes. Every breath could be the last. This is fundamentally true. Then secondly dunno if B. had that philosophical reach, like for example we in these days of internet newland. So on that is to speak later, too. Imagine! There is that nuthunter with his clockwork engine. He takes a hand of the human songs sand into the machine together with a hand of propaganda industrial machine noise sand into it. And out come: Breathing. ihahih.. and then later ihhhahhh.. Sinister.
Without my humble intervention one could have hold B. the best address to explain the breathing. The production, kind of distillation of breathing. Even though he might not really have a theoretical classification of such fetish, I would deem that he was possessed from a ghost, that conceived the ongoings. It would be recognized that they are possessed by the ghost of enlightenment. Now. Exactly. I knew, you expected me. With the undoubted godfather of enlightenment Leipnitz and Adorno we hunt them fascism out nearer. MM 151.S.1 These high brows lost force for it, and therefore failed to grasp the big picture. So there is where they drove wrong. In the monadology a monad could be anything, but a coin. A mon. You got any kind of mons out there. In the night instead of the sun, you got the mo on full coin once a mon-th, mon- mon-key. And aham. And in the mon-ey you got man-y of the coins to. Latin „Mens“ is not right a coin, no? Hopefully not. But what about a man, ha? Ok: human. What do you rest, if you strap away the coiny from him? Is that no labelled animus, breath or soul?
And at this part is up to ask, if B. was not augur himself enough among any ever namely Leipniz included, who gave a really tough, probably the toughes presentation against a critique of augurism, as his material system (of augurism), was approved by religious government, which were troubled enough by any concurrent augurs. Lately this augurism that goes along with enlightenment is as matter of expected superiority over any augurs around no less. If B, found his stuff randomly or not is saying nothing about the distance to an origin, admittedly at this spheres. Why not even hold him as self critical enough as Leipniz? Hm, B. needed to do his shit on the bet, indign pressure, constant indign pressure. That his stuff did the hurdle is luck, how near is the hit then to keep someone away from wanting to understand decently that is functioning well without? This question is at least worth to be risen says I. I would not believe anybody so soon, but I feel B, should be clean at it for some evidence. In any case „it is not true“ that one needed to suspect anything destructive such as veritable hate in such a critique.
Then to follow the talk about the first movement: we got that heart attack or breath attack after shock with that fascism fetish: two times. Well actually three. (:
I should shortly explain how I come to that number scheme. If for example you have 4 encounters of 2 opposite themes to handle, you got to adulterate a template with at least two places, not more. In the further pace you could but not necesarryly should lead the flow, I mean in B,s place, right? Every flow like for example the harmonic one comes from the unfold engine. You got cadences flows of accords at this quints circle system and you can check everything on the best wish ordered breathlessly well until certain region. For example he put Cminor as dadadaduu main theme. So as he wanted it to clash, to run to the clash or whatever he voted for his sidetheme the Es dur ladder, which is something due wood way. Kind as if you required make a Chinese talk in his language to an English some syllables randomly from his vocabulary. Kind of monty python ungarian dictionary hurdle. So following the question of numbering the design rule follows: You have the first couple and need to fill places for three others out of them two? Si? Then take the third, the one in the middle of time distance, and repeat the initial one on a „pressed“ way „again“. The reprise. We saw a through and through orderly reprise this time. It is to notice that by this tension, he let beam it in C-Dur. As if there where no Eschizzophrenia, apparent division, in it, but pressed with energy taken out of his neighbor time slices. There where flow is for recompensation in any how not repressed, which should equal: free. Number 2 and 4. Further questions? That is the nut cards of today.
The message: If there was a fight within those themes, to be happening first in let free forces, at least the result can be seen in an human acute breathing. A kind of survival strategy in such need, what could that be? You get out of the breathtakings cause’s room, wont you? But, what? Wait. After having got out of the door, and the breathening has calmed soon thankfully enough and you are not unbrave. What? You take another nose of it, wont you, in order to measure in strength by its repeated impact. So you go in again: ih,ah four times. Enough out, with the wounded. But the space between the two battles is smaller. Even though knowing all that the second battle is unavoidable who ever wins what but with this outcome. Then from the epilog of the reprise you got drunken by horns and catapulted straight over some main themes place to: again march to the battle, but this time miserably long and with whining. Dunno which professor mentioned that B. even the most sceptics of romantic give in. So why that whining, if we have not around the pleasant maestro of for example the sixth symphony. What will happen to us? Again such an overkill? Well first measurement: If we need to nearly go down, then lets organize the show down orderly, therefore the length. And .. You could tease him a little by hopping from a beat to an opposite one for example, tickling with some rhythm alteration. syncopism. I mean they call that syncopism. So if they gonna torture us, one could come up with a kind of torture protocol at these cases and for later use. Again we fall at the break even into breathing but this time with two snap mechanism and only 4 times, I mean. And then really it comes even though to some – communication among them, but in scarceness of time stopped by some dadadaduu signals. Then at the final cadences of 5.1, of 12 time tutti or the like you got in the middle of it interrupted by the presentation of the gain of that deal. 3 Notes played each one by oboe, clarinett and the other one forgot that, sweet as flute. It is just as looking the candle’s flame you could rescue after what ever a storm. It returns your hope. But hey, it was not true that we was not all sweating. Strange how by this music art one can codify a rather expected complex concept with mere 4 numbers? 1234.
Well, another thing, how is it that I endevelish the famous motive of B. The insulting the world wide marketed signum, as if I had bought it. Anyway what I wanted to express about that famous motive, can keep being marketed as famous. In my humble uncorrupted opinion. Why?
This I explain like this. As he was like of a mind of coproduction for political propaganda arts stuff together with Schiller indeed, indeed him. He voted for rare scheme that could be, would be, should be seen as related with the accuse from the antiterror police against him B.. Seen by light these french singers are idiots, could not they play the game today I change my mind, without happening the big slaughter among them all concerned frenches. Sad, but not overseen out of false compassion embarrassing. Could not they learn to behave from their colonized germans or the like wikings? So the question keeps, why is he playing all the time this monstrous scheme in its passages. dadadaduu. 1234111234111111 and so on so playfully. Clearly because he is a little monster, as anybody could not defend he was not, I bet. I death threaten you once, I deathstreaten you trice sword juggling, what? Kant and Horkheimer were of the sense that despotism should be used, in order get to the monetary provision of a any human, that is the pendent of price of ware to a human, and something that human rights declaration came to support under the term dignity. So far the legal border and in so far not even necessarily extralegal his slaughter in fantasy there. It is our duty to respect the realm of fantasy being them consumers or their deaf composers. So imagine one of these sequences a value from 1 to 0 of death threat command property. What a sword juggle this might be, given he counted at an en tyrannis sequence within a mirrored form veritable commands, which corresponds on some avarage with a killed whoever, says I. This may sound steep out of the piece’s facts, no doubt that he was one of the political kant schiller gang those days. There is a revealing paragraph on their intended revolution pattern, a template heap of dramas in MM 94. One could not say that with the same approach today they weren’t not endangered by prominence in most government/nations/countries at different rating . Bets I. So message to the marketers of B: I do not know about lalala but dadadaduu I encounter even prominently famous.
These are my two pence on B5.1. I hope that someone could have use of it, when starting from cero to B1.5. Have fun. (:
Ps: I would like to express that I am yes clowning on schnipp schnipp schnipp schnapp other peoples sack, -ahem and it is not true, that Udolf van Beethoven has been send to sterilization for the judgement of judge Dr. Jänning, but I am not joking admitting that I found Dr. Jänning defense council appealing in that film documentation with Marlene Dietrich.