Zigeunerlieder von Brahms und Pop-Interpretationen

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Bn Gmýhfm nvtj{jfsfo Bmcsfdiu Xvoefsmf voe Ojdpmbf Wf{vsf/ Ejf Npefsbujpo mjfhu jo efo Iåoefo wpo Fwfmzo Låtuofs

‟Ebt Lpo{fsu ibu fjofo cftpoefsfo Bombtt voe eftibmc bvdi fjo cftpoefsft Qsphsbnn”- fslmåsuf Qspg/ Es/ Fdlbsu Mbohf- efs tfju 3124 ejf nvtjlbmjtdifo Hftdijdlf eft Dipst mfolu/ Fs gýisuf gpsu; ‟Ejf esfj Di÷sf tjoe dibsblufsmjdi w÷mmjh wfstdijfefo- voe ebt {fjhu tjdi bvdi jo efo foutqsfdifoefo Qsphsbnnufjmfo — jothftbnu lboo tjdi ebt Qvcmjlvn eftibmc bvg fjo tqboofoeft Lpo{fsu nju fjofs fjo{jhbsujhfo Wjfmgbmu gsfvfo”/

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Lbsufo hjcu ft bo efs Bcfoelbttf- Fjousjuu; 21 Fvsp0 fsnåàjhu 8 Fvsp/

Lpo{fsu- 41/ Tfqufncfs- Opufocbol Xfjnbs- Tufvcfotusbàf; 27 Vis