674:
sound they produce, while useful to a jazz player who requires a loud penetrating sound, was not appropriate in classical music. His students and other disciples felt that the desirable tone for a classical saxophone was a softer, rounder sound—a sound that can only be produced by a mouthpiece with a large, rounded interior (often referred to as an "excavated chamber"). His steadfast and irascible insistence in this area, while nearly all the world's classical saxophonists were moving to narrower mouthpieces (along with saxophones with a non-parabolically expanding bore) and a brighter tone, resulted in quarrels with, and alienation from, the majority of the classical saxophone world. There were other ways in which his playing differed from the majority of classical saxophonists; these included his insistence on using the slap tongue as a pizzicato technique, and his use of
787:
164:(1928/1929). In an interview, Raschèr said, "Obeying necessity, not following my inclination, I started to play saxophone in order to be in a dance band. As I did this for a couple of years, I became more and more unsatisfied. I started to practice furiously and slowly found out that it had more possibilities than was usually thought of."
310:. This reflected both his distaste for the Hitler regime, and reaction to American suspicion during that time of all things German. His international career as a soloist and his ability to gain residence and citizenship in many countries could have been damaged or destroyed if any suspicion arose about his background.
746:
To better demonstrate that the technique of playing tones above high F had its basis in the natural overtone series of the saxophone, he had the
Buescher factory create a custom instrument for him: a saxophone body with no tone holes at all. A picture of this instrument is seen on the inside page of
387:
in Sweden; Jacobi, Dressel, von Knorr and
Hindemith in Germany; Haba, Macha, and Reiner in Czechoslovakia; and Benson, Brant, Cowell, Dahl, Erickson, Husa, Hartley and Wirth in the United States. And it is not without significance that among all the pieces written for and dedicated to him during his
755:
The extended range (altissimo register) was highly controversial throughout the middle of the 20th century, and Raschèr stirred the controversy among the classical saxophone community by insisting that the instrument's inventor, Adolphe Sax, had intended the instrument to be played in this manner.
681:
By 1970, narrow-chambered mouthpieces had become nearly universally popular, and mouthpiece manufacturers ceased production of large-chambered mouthpieces. This meant that Raschèr's students had difficulty finding mouthpieces that would produce the tone they desired. For a period of time the only
609:
After retiring from his performing career in 1977, Raschèr continued to give week-long workshops to groups of saxophonists, both in the United States and his native
Germany until well into his 80s. These workshops typically attracted between 40 and 80 players of all ages, and were usually held at
382:
Throughout the middle decades of the twentieth century, a preponderance of the significant new saxophone solo and chamber repertoire would appear with the familiar dedication to Sigurd M. Raschèr, the outcome of not just his ongoing commitment to motivate some of the world's finest composers, but
673:
Between 1940 and 1960, it became common for classical saxophonists to use narrow-chamber mouthpieces, which give the instrument a brighter and edgier sound. Whenever he taught or lectured to saxophone players, Raschèr emphasized that the modern mouthpieces were not what Sax had intended, and the
764:
During the earlier decades of his career, many saxophonists resisted and even ridiculed his pioneering work in extending the upward range of the instrument beyond two and a half octaves. Composers, however, were more inclined to embrace this expanded expressive capability that Mr. Raschèr had
759:
Despite the initial resistance on the part of the saxophone community to the altissimo register, it has since come to be an accepted technique, and is utilized by nearly all classical and jazz saxophonists. Despite its difficulty, it is now commonly taught to advanced high school and college
317:
ended in 1945, Raschèr was invited to give concerts in Europe again, where he traveled for months on end, performing as soloist with many orchestras. As Raschèr's reputation grew in the United States, he also performed many orchestra concerts as soloist as well as with various university
751:
book. He demonstrated that it was possible to play at least 16 overtones on this instrument, and on a conventional saxophone as well, and claimed that diligent study of the overtone technique was the best way to gain a command of the extended range and improve overall tone quality.
765:
singularly fostered. By , his lifelong commitment to the saxophone's high register, coupled with the momentum provided by so many composers who used it, had served to establish the extended range as an essential element of modern artistic saxophone performance.
290:
attended and thereupon embraced Raschèr. Due to the war in Europe, he could not return to
Germany. On 4 November 1941, his wife Ann Mari, of Swedish descent, joined him in the United States where they established their home on a small farm in the rural town of
472:
in 1969, one of the first classical saxophone ensembles to perform worldwide. He remained with the quartet for its first ten years, during which it performed at major concert halls in Europe and the United States. The quartet was acclaimed by the
685:
Raschèr responded to this lack of supply by engaging a manufacturer to make a "Sigurd Raschèr brand" mouthpiece, which was simply a virtual duplication of the mouthpieces that had been readily available from
American saxophone manufacturers
669:
as being large and round. All saxophone mouthpieces were made in this style until the 1940s, when the advent of big-band jazz made saxophonists experiment with different shapes of mouthpieces to get a louder and edgier sound.
738:
to make use of this extended range. He was eager to demonstrate his command of these "top tones," and argued that the use of these tones was a legitimate musical technique, not a trick or novelty. His book on this subject,
479:
as the "Uncrowned Kings of the
Saxophone". The quartet performed in all the countries of Europe, as well as North America, Southeast Asia, and Australia. It is the longest existing saxophone quartet.
482:
Raschèr's tireless pursuit of classical composers is continued by the quartet, which has led more than 300 composers in 35 nations to dedicate works to the Raschèr
Saxophone Quartet.
31:
682:
large-chambered mouthpieces were ones that had been manufactured in the 1920s and 1930s, leading Raschèr students to search pawn shops and other sources of old instruments.
712:
on the saxophone, despite the fact that few players at that time ever played beyond the conventional range of two and a half octaves. This upper range became known as the "
708:
Of special importance is Raschèr's emphasis on the extended range of the saxophone. As early as 1930 he demonstrated that an advanced player can achieve a range of four
150:), where his father, Hans August Raschèr (1880–1952), was temporarily stationed as a military physician. His schooling began in Arlesheim, Switzerland and continued in
1170:
1190:
184:(1906–1944), who composed a concerto for him in 1932. Borck's Concerto Op. 6 for Saxophone and Orchestra was performed at the General German Composers Festival in
941:
159:
227:. Over the next four years he performed concerts in Norway, Italy, Spain, Poland, England and Hungary. In April 1936 he participated in the XIV Festival of the
378:
During Raschèr's life, 208 works for saxophone were dedicated to him, many counted as among the most important 20th century works for the concert saxophone.
728:
720:
196:, gave a performance with Raschèr in Berlin on 6 January 1933. In the summer of the same year, Raschèr performed the Borck concerto again in
1215:
981:
228:
1210:
1185:
1175:
1200:
1059:
1155:
367:
610:
universities where his admirers or former students held teaching positions, such as The
University of Georgia (1976 & 1977),
1205:
611:
637:, and a final concert featuring all attendees playing together as a "saxophone orchestra." The last U.S. workshop was held at
1107:
1195:
830:
1160:
1102:
956:
822:
383:
also in part the result of genuine close friendships he developed with so many. Among them were
Larsson, Glaser, and
687:
756:
Raschèr cited evidence that Sax had demonstrated a three-octave range (up to a high C) to composers in the 1840s.
1150:
268:
189:
1180:
665:, had intended. Upon inventing the instrument, Sax had specified the shape of the interior of the instrument's
325:
Raschèr performed as soloist with more than 250 orchestras and wind ensembles worldwide, including concerts in
349:
220:
1165:
505:
Many of his students went on to become well known saxophone teachers and performers themselves, including:
232:
158:. After learning piano for some time, he decided to study clarinet with Philipp Dreisbach at the Stuttgart
1092:
903:
798:
469:
760:
students, and has become a required skill for any student who desires a degree in saxophone performance.
200:
at
Hermann Scherchen's International Musician's Working Conference, and in 1935 he performed it with the
555:
353:
275:. He was the first saxophonist to appear as a soloist in a subscription concert with both orchestras.
589:
566:
495:
256:
255:
Raschèr arrived in the United States in 1939 and made his American debut on 20 October 1939 with the
215:
rose to power in 1933, Raschèr's friend Johan Bentzon, whom he had met in Strasbourg, invited him to
1011:
930:
654:
615:
529:
989:
499:
201:
429:
Alan Hovhaness: World Under the Sea for Alto Saxophone, Harp, Tympani, Vibraphone and Gong, 1954
1033:
456:
Maurice Whitney: Introduction and Samba for Alto Saxophone and Band (Orchestra or Piano), 1951
836:
666:
417:
Alexander Glazunov: Concerto pour Saxophone Alto avec l'Orchestre de Cordes in E♭ Major, 1934
399:
Warren Benson: Concertino for Alto Saxophone and Wind Ensemble (or Orchestra, or Piano), 1955
1120:
1145:
1140:
123:. He became an important figure in the development of the 20th century repertoire for the
8:
1068:
627:
216:
177:
180:
needed a saxophonist for a performance. This is where he met the composer and conductor
713:
260:
1058:
Kappa Kappa Psi (2011). "Distinguished Service to Music Medal". In Smith, Nick (ed.).
716:," but Raschèr himself refused to use that term, preferring to call them "top tones."
388:
life, not one was commissioned. He inspired new music, he never needed to purchase it.
1115:
634:
550:
360:
292:
205:
155:
71:
408:
Henry Cowell: Air and Scherzo for Alto Saxophone and Small Orchestra(or Piano), 1961
1121:
Several articles by Sigurd Raschèr on saxophone history and usage at ClassicSax.com
675:
491:
444:
Frank Martin: Ballade for Alto Saxophone, String Orchestra, Piano and Tympani, 1938
296:
287:
279:
181:
224:
1111:
827:
638:
540:
435:
Jacques Ibert: Concertino da camera pour saxophone alto et onze instruments, 1935
384:
359:
After suffering a debilitating stroke in 1994, Raschèr died in 2001 at age 93 in
272:
124:
81:
873:, Sigurd Raschèr, edited by Lee Patrick, Daniel A. Reed Library., 2014, 231–233.
468:
With his daughter Carina, Linda Bangs and Bruce Weinberger, Raschèr founded the
414:
Werner Wolf Glaser: Allegro, Cadenza e Adagio for Alto Saxophone and Piano, 1950
1067:. Stillwater, OK: Kappa Kappa Psi/Tau Beta Sigma. pp. 57–9. Archived from
927:
885:
883:
881:
879:
770:
594:
524:
475:
1134:
694:
and others in the 1920s. The Raschèr mouthpiece is still manufactured today.
641:
in 1992 and the last European workshop was held in southern Germany in 1993.
623:
619:
342:
264:
244:
236:
143:
55:
876:
1097:
724:
545:
373:
319:
314:
193:
818:
He was awarded the Band Masters of America Award for distinguished artists
662:
516:
116:
786:
366:
The Sigurd Raschèr Special Collections Archive is currently held at the
306:, publicity from the 1940s often refers to Raschèr as having come from
197:
1125:
735:
703:
691:
658:
396:
Edmund von Borck: Konzert für Alt-Saxophon und Orchester, Op. 6, 1932
334:
283:
240:
151:
147:
139:
127:
91:
51:
453:
Viktor Ullmann: Slavische Rhapsodie für Orchester und Saxophon, 1940
450:
William Grant Still: Romance for Alto Saxophone and Orchestra, 1954
743:, was published in 1941 and remains highly regarded to this day.
709:
303:
185:
120:
30:
633:
Workshops featured master classes, performances by soloists and
438:
Erland von Koch: Concerto for Alto Saxophone and Orchestra, 1959
432:
Karel Husa: Elegie et Rondeau for Alto Saxophone and Piano, 1960
411:
Ingolf Dahl: Concerto for Alto Saxophone and Wind Ensemble, 1949
115:(15 May 1907 – 25 February 2001) was an American
650:
441:
Lars Erik Larsson: Konsert för Saxophon och Stråkorkester, 1934
338:
326:
307:
212:
173:
644:
459:
Carl Anton Wirth: Idlewood Concerto, 1954, and Jephthah, 1958.
649:
One subject that was of great importance to Raschèr was his
402:
Henry Brant: Concerto for Alto Saxophone and Orchestra, 1941
330:
1089:
988:. State University of New York at Fredonia. Archived from
950:
719:
A few players played above high F before 1940, including
447:
Slavko Osterc: Sonata for Alto Saxophone and Piano, 1935
426:
Paul Hindemith: Konzertstück für Zwei Altsaxophone, 1933
374:
Relationship with composers and premieres of major works
858:
Tibia, Magazin für Freunde Alter und Neuer Blasmusik
350:
Glazunov concerto for saxophone and string orchestra
348:
His last saxophone solo performance was playing the
942:"Eric Coates conducts The BBC Television Orchestra"
263:. On 11 November 1939 he was a featured soloist at
188:on 3 October 1932. It was such a success that the
864:
1171:Emigrants from Nazi Germany to the United States
1132:
974:
1191:Distinguished Service to Music Medal recipients
1057:
986:SUNY Fredonia: Archives and Special Collections
420:Alois Hába: Suita pro Saxofon-Solo, Op.99, 1968
299:, where they would reside for nearly 60 years.
1061:Guide to Membership for the 2011–2013 Biennium
892:, Sigurd M. Raschèr, Carl Fischer, Inc., 1961.
604:
278:His career continued with solo appearances in
250:
904:"Sigurd Raschèr; Dean of Classical Saxophone"
890:Top-Tones for the Saxophone (Revised Edition)
154:, Germany, where he graduated from the first
463:
229:International Society for Contemporary Music
645:Saxophone tone and the saxophone mouthpiece
895:
423:Walter Hartley: Octet for Saxophones, 1975
356:in 1977, on the eve of his 70th birthday.
29:
1126:Web site of Raschèr Saxophone Mouthpieces
777:
727:, an early jazz artist (to high F), and
723:of the Conway Band c. 1911 (to high D),
368:State University of New York at Fredonia
653:concept. He believed that when used in
1133:
612:The University of Southern Mississippi
901:
1216:20th-century American male musicians
1103:Raschèr's Los Angeles Times obituary
849:
831:Distinguished Service to Music Medal
781:
731:, an early recitalist (to high F#).
392:Works dedicated to Raschèr include:
35:Classical saxophonist Sigurd Raschèr
949:Radio Times Television Supplement (
219:, where Raschèr then taught at the
167:
13:
1211:20th-century American saxophonists
485:
221:Royal Danish Conservatory of Music
14:
1227:
1186:Musicians from the Rhine Province
1176:Manhattan School of Music faculty
1098:Raschèr's New York Times obituary
1082:
835:Initiated as honorary brother of
823:North American Saxophone Alliance
734:Raschèr was vocal in encouraging
1201:20th-century classical musicians
785:
490:Raschèr taught saxophone at the
405:Eric Coates: Saxo-Rhapsody, 1936
1156:American classical saxophonists
1051:
982:"The Sigurd Rascher Collection"
190:Berlin Radio Symphony Orchestra
1114: (archived 3 May 2005) by
1108:Memorial article about Raschèr
1034:"NASA - Honorary Life Members"
1026:
1004:
955:. 16 July 1937. Archived from
934:
921:
661:should sound as its inventor,
176:. He was called upon when the
1:
1206:20th-century German musicians
902:Boehm, Mike (27 March 2001).
842:
286:in the spring of 1940, which
133:
821:Honorary Life Member of the
697:
231:(ISCM), premiering the work
7:
1196:People from Salem, New York
741:Top-Tones for the Saxophone
605:Raschèr Saxophone Workshops
251:Career in the United States
243:, and in 1939 moved to the
138:Sigurd Raschèr was born in
10:
1232:
1161:American male saxophonists
701:
1093:Raschèr Saxophone Quartet
1038:www.saxophonealliance.org
496:Manhattan School of Music
470:Raschèr Saxophone Quartet
464:Raschèr Saxophone Quartet
257:Boston Symphony Orchestra
172:In 1930 Raschèr moved to
97:
87:
77:
61:
45:
40:
28:
23:
616:Georgia State University
302:Although he was born in
500:Eastman School of Music
282:and at New York City's
271:under the baton of Sir
202:Amsterdam Concertgebouw
1151:Classical saxophonists
778:Recognition and awards
775:
390:
113:Sigurd Manfred Raschèr
41:Background information
1181:People from Elberfeld
908:The Los Angeles Times
837:Phi Mu Alpha Sinfonia
762:
380:
269:New York Philharmonic
239:. In 1938 he visited
192:, under the baton of
233:Concertino da camera
223:. In 1934 he was in
161:Hochschule für Musik
16:American saxophonist
1166:German saxophonists
628:Syracuse University
534:Rebecca Crutchfield
217:Copenhagen, Denmark
204:under the baton of
178:Berlin Philharmonic
1088:Official web site
1074:on 2 January 2013.
962:on 7 February 2012
871:The Raschèr Reader
797:. You can help by
714:altissimo register
583:Styliani Tartsinis
577:Richard J. Scruggs
560:Michael G Montague
261:Serge Koussevitzky
1116:John-Edward Kelly
815:
814:
551:John-Edward Kelly
361:Shushan, New York
206:Eduard van Beinum
107:
106:
72:Shushan, New York
1223:
1076:
1075:
1073:
1066:
1055:
1049:
1048:
1046:
1044:
1030:
1024:
1023:
1021:
1019:
1008:
1002:
1001:
999:
997:
978:
972:
971:
969:
967:
961:
946:
938:
932:
925:
919:
918:
916:
914:
899:
893:
887:
874:
868:
862:
861:
853:
810:
807:
789:
782:
773:
676:flutter-tonguing
586:Bruce Weinberger
492:Juilliard School
354:Vermont Symphony
288:Arturo Toscanini
280:Washington, D.C.
186:Hanover, Germany
182:Edmund von Borck
168:Career in Europe
100:
68:
65:25 February 2001
33:
21:
20:
1231:
1230:
1226:
1225:
1224:
1222:
1221:
1220:
1131:
1130:
1112:Wayback Machine
1085:
1080:
1079:
1071:
1064:
1056:
1052:
1042:
1040:
1032:
1031:
1027:
1017:
1015:
1012:"SigurdRascher"
1010:
1009:
1005:
995:
993:
992:on 17 June 2013
980:
979:
975:
965:
963:
959:
944:
940:
939:
935:
926:
922:
912:
910:
900:
896:
888:
877:
869:
865:
860:(3): 401. 1979.
855:
854:
850:
845:
828:Kappa Kappa Psi
811:
805:
802:
795:needs expansion
780:
774:
769:
729:Jascha Gurewitz
721:H. Benne Henton
706:
700:
655:classical music
647:
639:Yale University
607:
602:
556:Patrick Meighan
541:Lawrence Gwozdz
488:
486:Teaching career
466:
376:
273:John Barbirolli
253:
170:
136:
110:
98:
70:
66:
50:
36:
17:
12:
11:
5:
1229:
1219:
1218:
1213:
1208:
1203:
1198:
1193:
1188:
1183:
1178:
1173:
1168:
1163:
1158:
1153:
1148:
1143:
1129:
1128:
1123:
1118:
1105:
1100:
1095:
1084:
1083:External links
1081:
1078:
1077:
1050:
1025:
1003:
973:
933:
928:Ronald Caravan
920:
894:
875:
863:
847:
846:
844:
841:
840:
839:
833:
825:
819:
813:
812:
792:
790:
779:
776:
771:Ronald Caravan
767:
702:Main article:
699:
696:
646:
643:
606:
603:
601:
600:
597:
595:Laurence Wyman
592:
587:
584:
581:
578:
575:
572:
571:Carina Raschèr
569:
564:
561:
558:
553:
548:
543:
538:
535:
532:
527:
525:Ronald Caravan
522:
519:
514:
511:
507:
487:
484:
476:Wiener Zeitung
465:
462:
461:
460:
457:
454:
451:
448:
445:
442:
439:
436:
433:
430:
427:
424:
421:
418:
415:
412:
409:
406:
403:
400:
397:
375:
372:
297:New York State
252:
249:
169:
166:
135:
132:
109:Musical artist
108:
105:
104:
101:
95:
94:
89:
85:
84:
79:
75:
74:
69:(aged 93)
63:
59:
58:
47:
43:
42:
38:
37:
34:
26:
25:
24:Sigurd Raschèr
15:
9:
6:
4:
3:
2:
1228:
1217:
1214:
1212:
1209:
1207:
1204:
1202:
1199:
1197:
1194:
1192:
1189:
1187:
1184:
1182:
1179:
1177:
1174:
1172:
1169:
1167:
1164:
1162:
1159:
1157:
1154:
1152:
1149:
1147:
1144:
1142:
1139:
1138:
1136:
1127:
1124:
1122:
1119:
1117:
1113:
1109:
1106:
1104:
1101:
1099:
1096:
1094:
1090:
1087:
1086:
1070:
1063:
1062:
1054:
1039:
1035:
1029:
1014:. Dornpub.com
1013:
1007:
991:
987:
983:
977:
958:
954:
952:
943:
937:
931:
929:
924:
909:
905:
898:
891:
886:
884:
882:
880:
872:
867:
859:
852:
848:
838:
834:
832:
829:
826:
824:
820:
817:
816:
809:
800:
796:
793:This section
791:
788:
784:
783:
772:
766:
761:
757:
753:
750:
744:
742:
737:
732:
730:
726:
722:
717:
715:
711:
705:
695:
693:
689:
683:
679:
677:
671:
668:
664:
660:
656:
652:
642:
640:
636:
631:
629:
625:
624:SUNY Fredonia
621:
620:Union College
617:
613:
599:Wildy Zumwalt
598:
596:
593:
591:
588:
585:
582:
579:
576:
573:
570:
568:
565:
563:John S. Moore
562:
559:
557:
554:
552:
549:
547:
544:
542:
539:
537:Kenneth Deans
536:
533:
531:
528:
526:
523:
520:
518:
515:
512:
509:
508:
506:
503:
501:
497:
493:
483:
480:
478:
477:
471:
458:
455:
452:
449:
446:
443:
440:
437:
434:
431:
428:
425:
422:
419:
416:
413:
410:
407:
404:
401:
398:
395:
394:
393:
389:
386:
379:
371:
369:
364:
362:
357:
355:
351:
346:
344:
343:United States
340:
336:
332:
328:
323:
321:
316:
311:
309:
305:
300:
298:
294:
289:
285:
281:
276:
274:
270:
266:
265:Carnegie Hall
262:
259:conducted by
258:
248:
246:
245:United States
242:
238:
237:Jacques Ibert
234:
230:
226:
225:Malmö, Sweden
222:
218:
214:
209:
207:
203:
199:
195:
191:
187:
183:
179:
175:
165:
163:
162:
157:
156:Waldorfschule
153:
149:
146:(now part of
145:
141:
131:
129:
126:
122:
118:
114:
102:
96:
93:
90:
86:
83:
80:
76:
73:
64:
60:
57:
53:
48:
44:
39:
32:
27:
22:
19:
1069:the original
1060:
1053:
1043:11 September
1041:. Retrieved
1037:
1028:
1016:. Retrieved
1006:
994:. Retrieved
990:the original
985:
976:
964:. Retrieved
957:the original
948:
936:
923:
911:. Retrieved
907:
897:
889:
870:
866:
857:
856:"Berichte".
851:
803:
799:adding to it
794:
763:
758:
754:
748:
745:
740:
733:
725:Dick Stabile
718:
707:
684:
680:
672:
648:
632:
608:
574:Michael Ried
546:James Houlik
521:David Bilger
513:Sylvia Baker
510:Mark Aronson
504:
489:
481:
474:
467:
391:
381:
377:
365:
358:
347:
324:
315:World War II
312:
301:
295:in northern
277:
254:
210:
194:Eugen Jochum
171:
160:
137:
112:
111:
99:Years active
67:(2001-02-25)
18:
1146:2001 deaths
1141:1907 births
663:Adolphe Sax
590:Harry White
567:Lee Patrick
517:Linda Bangs
117:saxophonist
49:15 May 1907
1135:Categories
843:References
667:mouthpiece
580:Ray Spires
530:Paul Cohen
198:Strasbourg
134:Early life
88:Instrument
806:June 2008
749:Top Tones
736:composers
704:Altissimo
698:Top tones
659:saxophone
352:with the
335:Australia
284:Town Hall
267:with the
241:Australia
152:Stuttgart
148:Wuppertal
140:Elberfeld
128:saxophone
125:classical
103:1930–1977
92:Saxophone
82:Classical
52:Elberfeld
996:28 March
966:29 March
913:28 March
768:—
688:Buescher
635:quartets
498:and the
385:von Koch
341:and the
119:born in
1110:at the
1091:of the
710:octaves
304:Germany
293:Shushan
144:Germany
121:Germany
56:Germany
1018:22 May
657:, the
626:, and
494:, the
339:Canada
327:Europe
313:After
308:Sweden
213:Hitler
174:Berlin
78:Genres
1072:(PDF)
1065:(PDF)
960:(PDF)
945:(PDF)
651:tonal
320:bands
1045:2024
1020:2014
998:2012
968:2012
915:2012
747:the
692:Conn
331:Asia
62:Died
46:Born
951:BBC
801:.
235:by
211:As
1137::
1036:.
984:.
947:.
906:.
878:^
690:,
678:.
630:.
622:,
618:,
614:,
502:.
370:.
363:.
345:.
337:,
333:,
329:,
322:.
247:.
208:.
142:,
130:.
54:,
1047:.
1022:.
1000:.
970:.
953:)
917:.
808:)
804:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
