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11


Canada/Канада


Муляжи боеприпасов или боеприпасы без зарядов и другие устройства, имитирующие взрывные устройства или боеприпасы, включая муляжи гранат или гранаты без зарядов, или другую имитацию боеприпасов, предназначенных или нет для экспозиции

12


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Ценные предметы

13


Chile/Чили


Деньги, мелкая разменная монета, ювелирные изделия, золото, серебро, платина и документы, которые могут быть предметом сделки

14


China/Китай


Погребальные урны (прах).

15


Denmark/Дания


Монеты, банкноты, денежные знаки или любые ценные бумаги на предъявителя, дорожные чеки, платина, обработанное или необработанное золото, либо серебро, драгоценные камни, ювелирные изделия или другие ценные предметы.

16


Djibouti/Джибути


Ювелирные изделия, банкноты и опасные вещества.

17


Egypt/Египет


Жидкие вещества, золото.

18


Estonia/Эстония


Все ценные предметы.

19


France/Франция


Опасные предметы, наркотики, лекарства без рецепта, растения, живые или мертвые животные, продукты питания, табачные изделия, спирт, за исключением спиртосодержащих напитков, произведения искусства, предметы старины, драгоценные металлы и камни, драгоценности, деньги (наличные или векселя, банкноты, кредитные бумаги), другие платежные средства (кредитные карты, чеки, и т.п.), пущенные в обращение на фондовой бирже ценные бумаги, фигурирующие или не фигурирующие на государственном уровне.

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Brahms composed this work between 1855 and 1876. Otto Dessoff led a "tryout" first performance in Karlsruhe, Germany, on November 4, 1876. At Düsseldorf in 1854-1856 — where he helped Clara Schumann with her seven children while terminally mad Robert, her husband, wasted away in an asylum — the young Brahms undertook on two separate occasions to sketch a symphony. By the end of 1858, one set of sketches had been assimilated into the First Piano Concerto, that gargantuan "serious" piece with Baroque underpinnings, in the tradition of Beethoven's Grosse Fuge and "Hammerklavier" Sonata. Sketches for a C major Allegro movement, in sonata form and 6/8 time, were saved for subsequent expansion and development. When, in 1862, he showed the results to now-widowed Clara, she expressed admiration but also concern that it ended too abruptly. For the next 12 years, Brahms kept this music close at hand. Finally, in 1874, he willed himself to complete the First Symphony that friends and admirers (beginning with Schumann in 1853, shortly after their first meeting) had been urging him to compose.
He polished the Allegro of 1855-1862, now in C minor, then wrote a solemn introduction hinting at themes already 12-20 years old. These included a recurring motto of three ascending semitones, repeated in the slow movement. Having created a horse to pull the cart, Brahms addressed the middle movements: one slow (Andante moderato, in E major, then C sharp minor), the other quasi-scherzoid (Un poco allegretto e grazioso, pleasant and graceful, in A flat, F minor, and finally B major), respectively in triple and duple meters. Certain kinds of performance can make the central movements sound out-of-place, which is not meant, however, to impugn their intrinsic quality. Both exemplify a master of musical art in his time, who had reached a rarefied synthesis of conflicting creative forces. Their substance and style bespeak maturity no less than the monumental finale created to trump them. There an ominous preface in C minor leads to a C major Allegro non troppo ma con brio (not too quickly but spiritedly), which remains in 4/4 time until a climactic alla-breve acceleration into the coda.
Brahms' decade of residence in Vienna had smoothed as well as ripened him: the middle movements could be called Schubertian, by way of Schumann. The finale, however, pays homage to the Germany's Baroque masters: Scheidt, Froberger, Buxtehude, Bach, and expatriated Handel. Simultaneously it honors the symphonic architectonics of Beethoven without regressing. Although he belonged to the generation that succeeded Chopin and Schumann, Brahms liberated music as much as they from the traditional Germanic tyrannies of bar-lines, four- and eight-bar phrasing, downbeat accents, and rhythmic squareness. While none of the music by his colleagues sounded richer (not even Bruckner's with augmented winds and brass), Brahms achieved his ends with astonishingly simple means — the basic Beethoven orchestra, sans bass drum, cymbals, or piccolo — plain to the point of abstemiousness on paper, but inimitably sonorous in performance. (Roger Dettmer)


Johannes Brahms (1833-1897)
Symphony No. 1 in C minor, Op. 68
1) I: Un poco sostenuto - Allegro (16:58)
2) II: Andante sostenuto (8:45)
3) III: Un poco allegretto e grazioso (4:45)
4) IV: Adagio - Più andante - Allegro non tropo ma con brio (16:00)
5) Tragic Overture, Op. 81 (12:17)
6) Academic Festival Overture, Op. 80 (10:09)

London Philharmonic Orchestra
Eugen Jochum

http://depositfiles.com/ru/files/giyh2mzlk

1.- Aqua
2.- Panorphelia
3.- NGC 891
4.- Upland


http://www.mediafire.com/?irjy4zniymh





"The solo debut from the leader of Tangerine Dream is a set of four synthesizer pieces, free-form and pastoral. The lengthy title track is quite naturalistic, organized around a series of synth bubbles and water sounds, while "NGC 891" reflects Froese's interest in space rock."


John Bush, allmusic

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В четверг мировой судья района Хамовники города Москвы постановил конфисковать награды, учрежденные общественной Академией проблем безопасности, обороны и правопорядка и оштрафовать ее президента.
Как сообщили в Генпрокуратуре России, мировой судья признал президента общероссийской общественной организации «Академия проблем безопасности, обороны и правопорядка» и некоммерческой организации «Национальный комитет общественных наград» Виктора Шевченко виновным в учреждение и изготовлении знаков похожих на государственные награды.
Виктор Шевченко оштрафован на 500 рублей. Кроме того, суд принял решение о конфискации всех знаков, учрежденных общественной Академией проблем безопасности. ИТАР-ТАСС
*************************************
Уж кто только эти бирюльки не носил на лацкане.
Признаюсь, мне тоже предлагали, но контора показалась мутноватой.
Да и какое я имею отношение к безопасности?
О современных наградах можно вообще писать новые ”12 стульев”.
Если человек не знает, чем бы ему заняться, и сумел отлоходромить спонсора, то он выпускает награду, сначала всучивает её известным людям при густом пиаре, а потом начинает продавать...

Глупей всех в этой ситуации выглядят иностранцы, принимающие всё за чистую монету. КОСАКУ ЭТО – вице-президент «Сока Гаккай». Япония. Награжден знаком «Почетный сотрудник Академии». ШЕВЧЕНКО Виктор Григорьевич – президент Академии проблем безопасности, обороны и правопорядка, генерал КГБ.

On In Praise Of Dreams, Garbarek has convened a typically atypical group to perform his vivid, intense compositions: classical violist Kim Kashkashian and rock/jazz drummer Manu Katche.

Garbarek's saxophone sound eerily conveys the essences of both Arctic windswept landscapes and radiant winter sunshine, while Kashkashian's beautifully warm viola, rich with vocal, and horn-like sonorities, provides cushioning and counterpoint. Katche delicately but firmly anchors the proceedings with his subtle, pattern-oriented drumming. Garbarek's compositions are haunting, atmospheric, and elegiac, not to mention concise, certainly not early-morning music, but for times of deep contemplation or relaxation, In Praise Of Dreams is an ideal soundtrack.

Tracks:

1.- As Seen From Above
2.- In Praise Of Dreams
3.- One Goes There Alone
4.- Knot Of Place And Time
5.- If You Go Far Enough
6.- Scene From Afar
7.- Cloud Of Unknowing
8.- Without Visible Sign
9.- Iceburn
10.- Conversation With A Stone
11.- A Tale Begun

http://www.mediafire.com/?asfb3jhjeu1

Это цитата сообщения outside-oyd Оригинальное сообщение

Лев Толстой «Закон насилия и закон любви»)



Лучшая жизнь может быть только тогда, когда к лучшему изменится сознание людей, и потому все усилия людей, желающих улучшить жизнь, должны быть направляемы на изменение сознания своего и других людей: на то, чтобы в сознании людей закон насилия заменился законом любви. (Лев Толстой «Закон насилия и закон любви»)

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Hydroponic Garden is the first studio album by Swedish ambient duo, made up of Johannes Hedberg and Daniel Ringström, Carbon Based Lifeforms.

Hydroponic Garden is a wonderful album of soft propelling rhythms contrasted by vast impassioned timbral planes. The sound in this album is fragile and delicate, and each tiny thing that goes on needs to be absorbed by the human mind as a part of the overall atmosphere. With constant drum beats in the backgrounds surrounded by an overall ambient aura, or just random sounds, almost like they're taken from nature; it forms the perfect chillout music.

Tracks:

1.- Central Plains
2.- Tensor
3.- MOS 6581 (Album Version)
4.- Silent Running
5.- Neurotransmitter
6.- Hydroponic Garden
7.- Exosphere
8.- Comsat
9.- Epicentre (First Movement)
10.- Artificial Island
11.- Refraction


part 1 http://www.mediafire.com/?itdjzmgigcm
part2 http://www.mediafire.com/?tzw2ik52m3k

Положение России ужасно. Но ужаснее всего не материальное положение, не застой промышленности, не земельное неустройство, не пролетариат, не финансовое расстройство, не грабежи, не бунты, не вообще революция. Ужасно то душевное, умственное расстройство, которое лежит в основе всех этих бедствий. Ужасно то что большинство русских людей живет без какого бы то ни было нравственного или религиозного, обязательного для всех и общего всем закона: одни, признавая религией отжившие, не имеющие уже никакого разумного смысла, ни, главное, обязательного для поведения значения старинные верования, руководятся в жизни только своими соображениями и вкусами; другие же, признавая ненужность каких-либо верований (религий), точно так же руководятся только своими самыми разнообразными соображениями и желаниями. Так что большинство людей, действующих теперь в России, под предлогом самых разноречивых соображений о том, в чем заключается благо общества, в сущности, руководятся только своими эгоистическими, почти животными побуждениями. Самое ужасное при этом то, что люди эти, отказавшись от разумной человеческой жизни, спустившись почти на ступень животных, вполне довольны собою и уверены; что все те глупости и гадости, которые они говорят и делают в подражание западным народам (как правительственные люди, так и революционеры), несомненно, доказывают их превосходство над мудрыми и святыми людьми прошедшего и что не только не надо стараться установить какое-либо общее всем религиозное жизнепонимание ? веру, могущую соединять людей, но что отсутствие всякой веры и доказывает их умственное и нравственное превосходство.

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Pierre Boulez's ever-illuminating Mahler cycle, which began in the mid-1990s, has saved the composer's grand vocal-orchestral works for last, ticking off in recent years the Third and Fourth Symphonies, Das Lied von der Erde, and now the Second Symphony, with its exalted choral culmination. (The only remaining work is the Eighth, the most "vocal" of all.) You'd expect this conductor to feel more of an affinity for the bleak modernism of a work like Mahler's Ninth, compared to the epic Romanticism that pervades the monumental "Resurrection" Symphony, but Boulez has clearly come to terms with this score, which receives a spectacularly dramatic performance here. The Vienna Philharmonic, as always, contributes a full-bodied orchestral luster to Mahler's music, and Boulez elicits a special vehemence from the orchestra in the moments of crisis -- the opening movement's development section and the traumatic climax of the Scherzo. In the symphony's second half, however, it's the singers' superb contributions that impress most: Michelle DeYoung has just the "earth mother" type of alto voice that "O röschen rot!" calls for, and when she's joined by soprano Christine Schäfer's soaring soprano and the Vienna Singverein, the finale goes over the top, just as it must. Refuting yet again the idea that this conductor values clinical precision over expression, Boulez gives in to the sublime grandeur of Mahler's rhetoric and serves up one of the most viscerally exciting of the Second Symphony's recent recordings. (Scott Paulin)

Gustav Mahler (1860 - 1911)
Symphony No.2 in C minor - "Resurrection"
1) 1. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck [20:55]
2) 2. Andante moderato. Sehr gemächlich [9:17]
3) 3. Scherzo: In ruhig fliessender Bewegung [9:27]
4) 4. "O Röschen rot! Der Mensch liegt in grösster Not!" (Sehr feierlich aber schlicht) Text from Des Knaben Wunderhorn: "Urlicht" [5:36]
5) 5. Im Tempo des Scherzo - Langsam misterioso [35:22]

Christine Schäfer
Michelle DeYoung
Wiener Philharmoniker
Pierre Boulez
Wiener Singverein
Johannes Prinz

2006 Deutsche Grammophon GmbH, Hamburg
http://rapidshare.com/files/267340842/Gustav_Mahler_-_Symphony_No.2.rar.html

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At the beginning of 1943, while he was delivering a series of lectures on folk music at Harvard University, Béla Bartók’s already fragile health took a drastic downturn, necessitating a battery of medical examinations. When these proved inconclusive, “the Harvard people persuaded me to go through another examination,” the composer wrote, “led by a doctor highly appreciated by them and at their expense. This had a certain result as an X-ray showed some trouble in the lungs which they believed to be [tuberculosis] and greeted with great joy: ‘at last we have the real cause!’ (I was less joyful at hearing this news.)”
After the composer returned to his home in New York, ASCAP (the American Society of Composers, Authors and Publishers), “somehow got interested in my case,” he continues, “and decided to cure me at their expense…. They sent me to their doctors who again took me to a hospital. The new X-rays, however, showed a lesser degree of lung trouble... maybe not tuberculosis at all!... So, we have the same story again, doctors don’t know the real cause of my illness.”
While in the New York hospital, however, he was visited by Serge Koussevitzky, conductor of the Boston Symphony, who – at the behest of two of Bartók’s fellow Hungarian expatriates, violinist Joseph Szigeti and conductor Fritz Reiner – came with a commission for a work in memory of his recently deceased wife, Natalie Koussevitzky. Bartók accepted and produced the Concerto for Orchestra, his last completed work save for the Sonata for Solo Violin of 1944.
It was shortly after the meeting with Koussevitzky that leukemia, which was to prove fatal two years hence, was diagnosed; but the composer was kept in the dark. A wise decision, as it turned out, since during the subsequent months he regained strength and, obviously, creativity.
The score was written in only two months at the health resort of Saranac Lake in upstate New York and completed on October 8, 1943. The first performance, an enormous success with audience and critics, was given by the Boston Symphony under Koussevitzky on December 1, 1944.
The composer, in Boston for the premiere with his wife, Ditta Pásztory, reported: “We went there for the rehearsals and performances – after having obtained the grudgingly granted permission of my doctor for this trip.... The performance was excellent. Koussevitzky says it is the ‘best orchestra piece of the last 25 years’ (including the works of his idol, Shostakovich!).”
Bartók provided the following brief program note for the occasion:
“The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious deathsong of the third, to the life-assertion of the last one... The title of this symphony-like orchestral work is explained by its tendency to treat the single orchestral instruments in a concertant or soloistic manner. The ‘virtuoso’ treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the perpetuum mobile-like passage of the principal theme in the last movement (strings), and especially in the second movement, in which pairs of instruments consecutively appear with brilliant passages.” (Herbert Glass)

Béla Bartók (1881 - 1945)
Concerto for Orchestra, Sz. 116
1) Introduction: Allegro non troppo
2) Giuoco delle coppie: Allegretto scherzando
3) Elegia: Andante non troppo
4) Intermezzo interrotto: Allegretto
5) Finale: Presto
L.A. Philharmonic Orchestra
Gustavo Dudamel


down it easy
http://rapidshare.com/files/264015362/Bartok_Concerto_for_Orchestra.rar.html

Фотографии outside-oyd : jizou

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http://rapidshare.com/files/268428677/Easily_Embar...lic_Life-HQ-2008---MfMM.ru.rar

01. Easily Embarrassed - Time Holes
02. Easily Embarrassed - Idyllic Life
03. Easily Embarrassed - Little Trees And Mysteries
04. Easily Embarrassed - Form Water To Life
05. Easily Embarrassed - Phenomenon
06. Easily Embarrassed - Blood
07. Easily Embarrassed - Mental Anguish
08. Easily Embarrassed - Reincarnation
09. Easily Embarrassed - Past Memories

Genre: Ambient, Downtempo

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A glance in Grove will reveal, if you didn't know it already, that Paganini wrote a great deal of guitar music both with and without the violin, bringing together the two instruments he played so well. Paganini played these works with the guitarist/violinist Luigi L.egnani who, it is said, finally protested that he always had the easy guitar parts, whilst Paganini enjoyed the violinistic limelight.
However, when Paganini produced his Grand Sonata and gave the violin part to Legnani the roles were doubly reversed; the violin plays such a minor role that it is usually omitted from performances; I can recollect only one other (now deleted) recording in which it appears! As a violinist was to hand he plays his part here, from which you may judge what is (not) lost when it is omitted. The guitar parts in the Six Sonatas, op. 3 are of student level—Segovia refused many invitations to play them—and could benefit from revision, as those in Opp. II and 17, adapted from the original piano parts, firmly suggest. The Sonata concerto/a finds the two instruments on a more even playing field, with the guitar often leading the way. This is not the music of Paganini wearing his devil's cloak but I would have liked a little more emotional fire and bite than is present in these polished and expressive performances. They are nevertheless clearly recorded, well annotated, and welcome. (JD, Gramophone, April 1994)

Nicolo Paganini (1782 - 1840)
Sonata concertata M.S. 2 per chitarra e violino in A major
1 Allegro spiritoso [7:50]
2 Adagio, assai espressivo [3:42]
3 Rondeau. Allegretto con brio, scherzando [2:40]
Sei sonate M.S. 27 (op.3) per violino e chitarra
Sonata n.1 - in A major
4 Larghetto [2:00]
5 Presto Variato - Variazione [1:18]
Sonata n.4 - in A minor
6 Andante largo [3:01]
7 Allegretto [1:27]
Sonata n.6 - in E minor
8 Andante [2:32]
9 Allegro vivo e spiritoso - Minore [1:51]
10 Grand Sonata M.S.3 per chitarra e violino - in A major [4:30]
Centone di sonate M.S.112 per violino e chitarra - Lettera A:
Sonata n.2 - in D major
11 Adagio cantabile [2:49]
12 Rondoncino. Andantino, Tempo di Polacca - Minore [4:10]
Sonata n.4 - in A major
13 Adagio cantabile [2:39]
14 Rondo. Andantino. Allegretto - Minore - Maggiore [5:51]
Cantabile M.S.109 - in D major
15 per violino e chitarra (pianoforte)
Sonata a preghiera M.S.23 - in F minor per violino IV corda e chitarra
16 1. Introduction. Allegro [2:46]
17 2. Thème. Tempo alla Marcia - [1:08]
18 Var. I - [0:58]
19 Var. II. Vigoroso - [1:13]
20 Var. III. [0:33]
21 3. Finale [0:31]
Allegro vivace a movimento perpetuo M.S.72 (op.11) in C major
22 per violino e chitarra [3:16]

Gil Shaham
Göran Söllscher


down it easy

http://rapidshare.com/files/267436874/Paganini_For_Two.rar.html

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Miwa Akihiro -Mon Cafe Russe- (1989)

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Slovno ditya bez materi

Slova - Terayama Shuji

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nichiren trad

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Many composers have discovered that the combination of piano, violin and cello is notoriously difficult to balance, and have struggled with the problem of giving full scope to each instrument without drowning the cello in its lower register, or letting the piano dominate the ensemble. Shostakovich, who had a perfect ear for instrumental textures, enjoyed confronting such challenges and composed two true piano trios at the beginning and middle of his career, and one piano trio with soprano (the Alexander Blok Romances) at the end. The three could hardly be more different in sound, texture and general effect.
The C minor Piano Trio was only published after Shostakovich’s death. He began it in August 1923 in the Crimea, where he was convalescing, and completed it soon afterwards in Petrograd. He dedicated the piece (which he also called Poème) to Tatyana Glivenko, an early love. It was first performed by the composer and two of his friends in December: Shostakovich’s younger sister recalled that they practised in a cinema and their sessions often doubled as an accompaniment to silent films. We can only imagine what the audience thought. The Trio comes from the time when Shostakovich was just seventeen, clearly the most brilliant student at the Petrograd Conservatory, and beginning to collect ideas for the symphony which three years later would bring him widespread attention in Russia and eventually international fame. It was a period when he was experimenting with a number of different musical approaches and in this work he was obviously determined to avoid any reference to a nineteenth-century piano trio sound. Shostakovich was a child of the revolution (however ironically he may have viewed it) and wanted to compose original music for an original society. The Trio is a compact work in a single movement, but containing a wide variety of tempos and musical characters in its well-crafted span.
The stimulus to write his Piano Quintet came to Shostakovich from the musicians of the Beethoven String Quartet, who had asked him for a work which they could all play together. It was his first major composition after the Sixth Symphony; he worked on it during the summer of 1940 and gave the first performance with the Beethoven Quartet in Moscow on 23 November that year. Shostakovich would certainly have been aware that he was composing in a medium which presents huge problems of balance and texture, and which even the most devoted composers of chamber music in the twentieth century have tended to ignore. That he so completely overcame these problems indicates not only the seriousness with which he approached the task, but more significantly the originality and inventiveness of his aural imagination: once this music has been heard, it is unthinkable to imagine it played by any other combination of instruments. The work is scored very economically; the full quintet is rarely employed (apart from in the frantic Scherzo) and the wide range of instrumental effects includes such expedients as frequently having the piano play at the very top or very bottom of its register, making a musical virtue of its notorious inability to blend well with stringed instruments.
The Prelude establishes three expressive areas — dramatic rhetoric, neo-classical dance rhythms and intense lyricism — and announces the scale on which the Quintet will evolve. Its themes are all found embryonically in this Prelude, and all of the subsequent movements quote from its first few bars in the most subtly different contexts. Unlike so many other Russian composers who have fought shy of extended counterpoint, Shostakovich demonstrates in the second movement how natural a means of expression it is for him, and how much emotional charge can be generated by the traditional scholarly devices associated with fugue. Nothing could be less scholarly in its impact, however, than the ensuing Scherzo, cheerfully poised between spiky wit and downright bad manners. It is something of a shock when the Intermezzo reestablishes seriousness. Despite its title, this is no lightweight interlude but a deep expression of the sombre currents which run through the Quintet. The formal weight of a sonata structure is reserved for the Finale. Its development section climaxes in an impassioned reference to the Prelude, but the recapitulation is surprisingly condensed, and the clownish second subject has barely re-appeared before the music thins out and brings itself to a close with a wryly conventional gesture. (Andrew Huth)

Dmitri Shostakovich (1906-1975)
1) Applause [0.20]
2) Piano Trio No.1 in C Minor, op.8 [11.33]
Five Pieces for 2 violins and piano
3) I Prelude [2.44]
4) II Gavotte [1.38]
5) III Elegy [2.49]
6) IV Waltz [1.50]
7) V Polka [1.33]
Piano Quintet in G minor, op.57
8) I Prelude [4.21]
9) II Fugue Читать далее...

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1. This Earth (4:53)
2. A Feeling (5:53)
3. Far Away (5:00)
4. Half Time (5:01)
5. Black Iris (5:06)
6. Let It Go (5:26)
7. Lattitude (5:45)
8. Fantasy (5:34)
9. Elijah (4:54)
10. Sunfish (4:52)
11. National Dobro (5:55)
12. Midnight (5:03)
13. Parkour (4:51)
14. Lay Your Love (4:57)
15. Waterfront Dub (4:58)



http://rapidshare.com/files/266090132/Afterlife.09.rar

[400x509]
CD1:
01. Alexander Daf – Treat Me Right
02. Cry Solnca – Martian Rain
03. Jane Maximova – Ocean Of Emotions
04. EXIT project – Not a Game
05. Second Hand Band – Lost Gudgeon
06. Aleksey Beloozerov – The Sky is Crying Over Me (Instrumental mix)
07. Promonova – Two Equators (RomaN Dub mix)
08. Daclip – Cry With Me
09. Imagic – Christmas Record
10. Dmitry Raschepkin – Russian Traditions
11. Melodic Brothers – Light In Your Eyes
12. Goatika Creative Lab – Deep Azuro

CD2:
01. Sacral Reason - Jana
02. EXIT project – Closer To The End
03. Second Hand Band – Book Of Dreams
04. Jane Maximova – Piano's Dream
05. Goatika Creative Lab – Wave Flow
06. Cry Solnca – Sunahaii
07. Ozone Cocktail – Hi!
08. Dreamlin - Ostrov
09. Tetris – Last Drop
10. Fomalgaut - Kiss Of The Wind
11. MCV project – Sun Vibes In Your Eyes
12. Nero & Veronika Alex – Tet a Tet

http://letitbit.net/download/7993.75553c3a79bc3dc0635384dd48/VA_Four_Seasons_Russian_Autumn_2009.rar.html