Press reviews

The saxophonist and clarinetist Christian Elin and the pianist Maruan Sakas mix classical, jazz and world music in their songs.

The constant cooperation and the growing blind understanding between the two musicians is something special in the music scene. If only because a duet between a pianist and a soprano saxophonist and bass clarinettist is rare. In addition, the two maintain this duo as their own jazz formation, which is unusual in this genre that is constantly looking for something new. Almost all jazz musicians belong to many different bands and projects at the same time. Elin and Sakas are more like a rock group, where band membership is mostly exclusive. Unimaginable, for example that one of the Beatles would have played in another band on the side. However, the two musicians do not come from rock, but from classical music, in which they are still involved in parallel to the duo - which is what you can hear in their jazz music which sounds melodic and formal. Their modern classic / jazz mix is becoming more fashionable among the young, mostly classically trained jazz generation, but is still rare.

The constant cooperation and the growing blind understanding between the two musicians is something special in the music scene. If only because a duet between a pianist and a soprano saxophonist and bass clarinettist is rare. In addition, the two maintain this duo as their own jazz formation, which is unusual in this genre that is constantly looking for something new. Almost all jazz musicians belong to many different bands and projects at the same time. Elin and Sakas are more like a rock group, where band membership is mostly exclusive. Unimaginable, for example that one of the Beatles would have played in another band on the side. However, the two musicians do not come from rock, but from classical music, in which they are still involved in parallel to the duo - which is what you can hear in their jazz music which sounds melodic and formal. Their modern classic / jazz mix is becoming more fashionable among the young, mostly classically trained jazz generation, but is still rare.


For six years now, the duo Elin Sakas can be heard more and more often, “although, curiously, the classic organizers book us more often than the jazz clubs or festivals,” says Sakas. You can listen to their development on two albums so far, “Some kind of Blues” from 2017 and the one that was just released in February “Midsummer Night”, their increasingly organic, delightful, melodic and pictorial music, filled with relish, takes a seat between two chairs. “When I write something for us, I don't even have the link between classical and jazz in my head,” explains Elin, “it just happens because it corresponds to my preferences. "

Still slowed down by Corona, the two want to continue the tour to the “Midsummer Night” album, which has only started with one concert, as soon as possible. It will be nice when you can experience the two of them live again, as they are at the forefront of the trend to fill genre trenches and concentrate on what it's about: just good music.

Oliver Hochkeppel

Christian Elin and Maruan Sakas go to great lengths to bring out the beauty of music. Not pure euphony and certainly no sugar-sweet melodies. That would be too banal. Grace and elegance determine their presentation. Intensity in spite of being introverted, spontaneity in spite of a noted basis, balance despite diversity. The duo, saxophone / bass clarinet and piano is a constellation that goes perfectly with each other in terms of sound, but is rarely heard except in jazz. Now they were guests at the KOM Olching. It was the 180th concert in the 15th year of the "Eleven-Eleven" matinee. An appointment which Bavarian television and their music magazine "KlickKlack" did not miss. That the hall was almost completely filled was due to the impression that Elin and Sakas had left in the same place during their previous performances. Now they were in Olching for the fourth time. They themselves spoke of a kind of living room they always like to come to.

Both musicians know each other very well, have been complementing each other in their musical inclinations for five years, recognize the qualities of each other without envy and are passionate instrumentalists who think empathetically and act in solidarity. Their repertoire fully meets the chamber music demands of the Olching series. In addition to their classic based direction, the unpredictability of jazz is misled by their interpretations, oriental expressions and asian composition ideas find their way into their pieces. It is mostly pastel tones and introspective attitudes that are cast into sound. No glamorous standards and no classic quotes. Instead, wonderful instrumental dialogues that come across as an intelligent and entertaining conversation, that are close to an inner exchange of ideas and beliefs, and that exude something worldly.

The entire concert was a distillate of wonderful melodies, based on smooth harmonies and which fascinated in their often polyrhythmic stimulation even without percussionist. Despite all the solo skills of both musicians, it was above all the musical interaction, the interweaving of inspiration and empathy that made this late morning something very special.

Jörg Konrad

The duo Elin-Sakas excels in the k1 with virtuoso chamber jazz and receives frenetic applause

Their own compositions from the programs "Midsummer Night" and "Some Kind of Blues" have unusual titles, so they aim at the non-standard and, as we could witness, they can actually keep their promises.

With characteristic echoes from Arabic music, the compositions "Moorish" were a real pleasure to listen to. While “Moorish” actually describes artistic, decorative Arabic architecture, the composition with this title implements this term onomatopoeic: dark, slow runs on the bass clarinet slowly increase in speed and intensity - with the piano in a congenial accompaniment.

Kirsten Benekam

" The cultural association Gifhorn hit the jackpot with the third edition of the format "Klassik im Ring". The gambist Friederike Heumann and the saxophonist Christian Elin used the unusual stage of the arena for a strong musical performance .... The supposedly insurmountable limits of musical styles were blown away by storm. The duo thus opened the listener the transition between epochs and sonic worlds. Symphonic harmonies glided over to baroque melodies, until almost psychedelic jazz variations made a universal listening experience possible. "

Stefan Lohmann

C’est à un concert exceptionnel, un concert de jazz de haut niveau, auquel ont assisté un peu plus de 100 personnes ce samedi 3 mars au cinéma de Vayrac.

Proposé dans le cadre de sa saison d’hiver par le Théâtre de l’Usine en collaboration avec le Festival de jazz de Souillac, le duo Christian Elin, au saxophone et à la clarinette basse, et Maruan Sakas au piano, a enchanté le public venu parfois de loin pour l’écouter.

Une salle pleine aurait été une vraie reconnaissance et une récompense pour les organisateurs mais aussi et surtout pour les musiciens. Le talent de Christian Elin et de Maruan Sakas ne s’arrête pas à la maîtrise quasi parfaite de leurs instruments, mais ils maîtrisent également l’art de la composition et de l’improvisation. Le concert de ce 3 mars a permis aux spectateurs d’entendre les titres qui composent leur dernier CD «Some kind of Blues». Musique classique et jazz se marient naturellement dans des compositions originales vigoureuses et reposantes, les deux musiciens, ou plutôt les deux instruments, le piano et le saxophone ou la clarinette, se répondent, dialoguent, s’isolent pour mieux se retrouver.

La complicité et la virtuosité des deux musiciens ne font qu’accentuer ce sentiment de plénitude musicale ressenti par le public qui n’a pas manqué d’applaudir et de rappeler à plusieurs reprises les deux instrumentistes.

Il convient de remercier Robert Peyrilloux, président de Souillac en jazz, et Véronique Do, directrice déléguée du Théâtre de l’Usine de Saint-Céré, pour cette très belle soirée.

The music series "Eleven-eleven MusikKultur e.V." was launched in February 2005. Since then, 156 exciting matinees have taken place in the concert hall of the Olching KOM. On the last Sunday, 18.02.18, it was time again: this time with the duo of the saxophonist and bass clarinetist Christian Elin and Prof. Maruan Sakas on the piano.

A special matinee of this concert series, this time it was all about jazz and improvisation. However, with a small drop of bitterness at the beginning: Elin, who is a virtuoso not only on the bass clarinet but also on the soprano saxophone, unfortunately had to give up this first wonderful instrument at short notice, as it fell over shortly before the concert and was no longer ready to play. As it is in jazz, the program was changed without further ado, and so the two simply played pieces for piano and soprano saxophone from their repertoire ... and they had it in them! Apart from Marcus Miller's "Straight to the heart" and Jan Garbarek's "Twelve Moons", the focus was primarily on their own compositions. All were performed with verve and animated improvisations. In the process, lyrical conversations developed, characterized by magnificent melodies which captivated the audience, true to the motto of the matinee "Rhythm changes".

Just over a year ago, the two musicians presented their duo CD "Some Kind Of Blues" (published by the label raccanto), which is impressive and reflects what Elin and Sakas are doing live on stage: an inspired conversation between saxophone (bass clarinet) and acoustic piano, without bells and whistles, straight ahead, captivating and absolutely varied. Currently my listening tip for diving and listening for relaxed hours.

Thomas Krebs

The Art of the Duo

The art of musical togetherness is not a modern day invention. The first serious duo in the history of jazz was arranged by Louis Armstrong and the "Weatherbird Rag" was performed as soon as 1928 by Armstrong and the pianist Earl Hines. The direction in which the musical develpment of this small jazz line up would lead, could be heard at the Landsberg Town Theatre. For here not just one, but two duos made a guest appearance, which offered a large tonal spectrum.

The first part was performed by Christian Elin and Maruan Sakas. Christian Elin plays saxophone and bass clarinet. Maruan Sakas is a pianist. Together their lyrical interaction was most entertaining. The voices of the instuments found a language which was both touching and at the same time challenging. It was like a tender enticement of the other person. Sophisticated ballads which filled the room like improvised chamber music. But there were also groovy moments which gave the music wings, so that it began to shine intensively. Of course classical music was the inspiration since references to Chopin and Strawinsky could be recognised. It was the magic of touching sentiments and of soundscapes that open the soul. The aesthetic held the music together, opened doors and ears.

A rare encounter

This year the concert series "ErstKlassik" celebrates its tenth anniversary. A suitably special programme has been arranged for the occasion. David Rattinger and Christian Elins performance has now placed the first exclamation mark. This exceptional bridging of barocque and jazz made all sit up and take notice.

The two musicians are in a class of their own on their respective instruments - the viola da gamba, soprano saxophone and bass clarinet. Under the title of "Barocque meets Jazz" they chanced a crossover and produced a rare encounter of style and variation and presented the audience a "groovy" barocque experience.

Barocque und jazz, viola da gamba and saxophone, tradition and modernity - it seemed as if musically distant worlds had been brought together. The two musicians had no trouble at all in managing the balancing act between groovy jazz and classical music of the 17th and 18th century. "There is a lot of common ground. Our connection is improvisation", Elin told the audience when speaking about the different styles. While they were both studying in Basel, he got to know his partner Rattinger who plays the viola da gamba, which looks like a cello but belongs to the guitar family - like no other. Diego Ortiz ("Recercada"), Mozart, Bach or Piazolla: rich in variety, changing between accompaniment and solo functions, with catchy flows and sparkling ease, this unusual combination made this evening so unusual and charming for confirmed classic fans.

Elin, who was awarded the Bavarian Art Sponsorship Award in 2013, impressed the audience as a composer with his own works, La Chiesetta and Recercarda Primeira – which was modelled on the 16 measures harmonic pattern of Ortiz - and his breathtaking solo "Cycles" left a lasting impression just as Rattingers solos (Les voix humaines, A Soldiers Resolution) on the historical strings of his gamba.

The blues is a musical form with which one can communicate worldwide. It is also a feeling that, alternating between wit and melancholy, drives people on. The duo of the Augsburg clarinettist and saxophonist Christian Elin with the Erlangen pianist Maruan Sakas plays with this ambiguity, wanders into chamber music, oriental-tinged spheres and tells light as well as pathetic, slightly sad stories.

The music of “Some Kind of Blues” is therefore a diary of two closely communicating partners, with melodic subtlety and a great sense for tonal dramaturgy.

Ralf Dombrowski

The hall of the Evangelical Church of the Holy Cross was once again filled with the sounds of Bach’s music - but this time a new tone mingled with the musical events. In the concert of the Philharmonic Society there were well-known works to be heard with slight to drastic instrumental changes: the saxophone and vibraphone played a major role as a soloist. The enthusiastic audience could hear, however, that no sacrilege was taking place.

In the oboe concerto in F major BWV 1053, the internationally recognized saxophonist and composer Christian Elin from Augsburg provided equally new, but somehow familiar tones. The soprano saxophone even seemed not at all dissimilar to the historically baroque sound of delicate Bach trumpets. Elin's smooth and powerful phrasing playing was integrated in the modelling of the weave harmoniously into the reduced sounding body of the strings - two violins, one viola, one cello, and one double bass. (...)

Manfred Engelhardt

Christian Elin and Jakob Rattinger make a highlight with "Barock meets Jazz" in Dinkelscherben

Just the title of the programme alone "Barock meets Jazz" raised expectations in the audience at the Rathaus Concert in Dinkelscherben. The two musicians, Christian Elin and Jakob Rattinger change between music worlds, from Renaissance and Baroque music to contemporary music and even introduced some of their own compositions. With their extraordinary instruments these two highly gifted young musicians proved that with ideas, creativity and musical empathy, the differences between tradition and modern spirit can be overcome and brought into harmony. . (...)

The two musicians bridged the gap between baroque and jazz with enthusiasm and technical mastery and in doing so they created their own timeless voice.

(...) The artists guided though the programme in a humorous way and not only gave insight as to the construction and functions of their instruments but also tips about the compositions. The opinion of the audience was unanimous, that this concert was one of the highlights of this years Rathaus Concerts. The audience expressed not only their admiration but also great respect for exceptional musical achievement with exceedingly rapturous applause.

Manfred Miller

Creative cross-border commuters
Christian Elin and Maruan Sakas alternate between classical and jazz

The visitors in the concert hall of the Leopold Mozart Center experienced a daring but successful combination of the most varied of compositional styles. The Tonkünstlerverband Augsburg-Schwaben had invited two renowned musicians, Christian Elin (soprano saxophone, bass clarinet) and Maruan Sakas (piano), who confronted their transcribed versions of important sonatas of wind music with their own poetic, jazz-like compositions. That the question of legitimacy arises for a saxophone-piano rendition of Bach's E-flat major sonata, which originally featured a flute and a cembalo, is conclusive. However, this question was quickly forgotten, because the saxophonist's cantable legato playing, especially in the siciliano, the dynamic, often echo-like differentiation, the pianist's extremely lively, lively leggiero were convincing. And if there is a literature that can sound valid on almost any instrument, then it is the music of Bach that has an effect on it like a possible retrospective from today. The artists also presented Poulenc's sonata authentically - originally for oboe. Elin and Sakas conveyed the mourning to the audience in the corner movements, shining in between in a toccata-like scherzo. Whenever these sonatas introduced the two halves of the concert, the program was filled with original compositions by the two performers. Elin's “Hymne angevine” turned out to be a furious symphonic duo. Here echoes of Scriabin, Prokofiev, pop, samba and jazz come together. This actually risky interweaving of different styles and composition techniques - in the joint work “Juste pour le plaisir” once again varied enormously and evident in the overall program design - succeeded, above all through the structural quality of the compositions, through a first-class, well-coordinated, professional Duo, who acted virtuously in a strikingly coherent interaction, personally moderated and artistically fascinated.

Stephan Kaller

"Highlight in the Art of Duo Playing"

Right from the first track of the CD, "En Route", Elin elates the listener with his flexible transition from bass clarinet to soprano sax. In unison with the pianist he introduces the theme and captivates the listener with improvisations in which the excitement and anticipation before a journey can be sensed. “Un pas jusqu’au seuil”, is a further highlight in the art of duo playing, in which each artist in turn opens the festive sounding piece with a solo, until they join together playing the ballad-like theme. The melodic richness which the musicians create in their improvisations never sounds calculated, but takes place as naturally as breathing. With the delicate sound impressions of "The Scent of Light" Christian Elin and Maruan Sakas bring their gorgeous recording "Some Kind of Blues" to an end.

Gert Filtgen

Franz Lichtenstern called it "One of the most high-contrast concerts, we have ever had here and one of the finest we have ever heard here". Regular visitors to the series of chamber music performances in the library hall would agree, following an evening of accomplished musical enjoyment. What was offered to the totally enthusiastic audience on this Sunday evening under the title of "RRRRRRR... Reger" was not simply a further highlight in this high class concert series, but truly one of its magic moments.

Diversity stood as the implied main idea for this programme: with regard both to the emotionally very differently laid out pieces as well as to the composers, beginning with Max Reger whose 100th death date was in May of last year, and Anton Webern who although only ten years younger, belonged to a new era, as well as finally Mauricio Kagel with his five small jazz compositions "Rrrrrr" from the early 1980's. Before that however, there was contemporary music, beginning with "Off Pist" for soprano saxophone and cello by Svante Henryson, almost a humoresque, coined by the oscillation of the two voices constantly changing direction in their mutual reference field - carried out at a furious rate as a cheerful, deliberate confusion with restlessly changing between a - with, toward, against and behind one another - of the two instruments.

Christian Elin, born 1976 in Munich, brought along three of his own pieces. He brought new sounds to the old baroque hall not only as a composer with the debut performance of his piece "Recercada Primeira" for bass clarinet and cello but beforehand with his saxophone.

The unifying fastener of the wide fan of musical impressions was the constantly sensitive and highly musical playing of Franz Lichtenstern on the cello alongside his colleagues of the Orchestra of the State Theatre at Gärtnerplatz, Katja Lämmermann and Ludwig Hahn, violin, as well as Dorothea Galler, viola strengthened by the pianist Kazue Weber-Tsuzuki as well as Rolf Weber on clarinet and Christian Elin on saxophone and bass clarinet.

The six musicians mastered all the technical subtleties as if they were no more than simple handicraft, the extremely intricate and bizarrely awkward rhythms in Anton Weberns Quartett for violin, clarinet, tenor saxophone and piano, the no less difficult to intone abrasive sounds in Mauricio Kagels closely knitted whole tone and half tone intervals, which can continue for several beats and high speed runs, which could almost break fingers, giving the impression that this was no more than the basis of the actual challenge, which was to lend each composition adequate artistic expression, although they are so different in style and character.

A classically trained violinist who has always played jazz and a saxophonist who besides jazz has always tended toward the classical approach to playing could only be helpful in this endeavour: Ludwig Hahn extended the sound spectrum with his sophisticated, colourful playing not only in Regers Clarinet Quartett but also in the subsequent Quartett by Anton Webern, whilst Christian Elins small duo compositions, "Cycles Part II", "Recercada Primeira" and "MAY" found their ideal performers with himself as an instrumentalist first in collaboration with Rolf Weber on clarinet, then with Franz Lichtenstern and finally with the pianist Kazue Weber-Tsuzuki.

This Sunday evenings cleverly compiled programme with works from the - still - tonal Max Reger, at least reminiscent of late romanticism, through Anton Webern and Mauricio Kagel to musicians and composers working freely beyond any genre borders such as Svante Henryson and Christian Elin portrayed the constantly accelerating and music historically thrilling development of the last hundred years and shows us in a comprehensible way, that "dissolution"means not only loss of the familiar, but also a chance for new concepts.

Lengthy applause, without hoping to force an encore - an exceptional gesture of appreciation from the audience who acknowledged an equally exceptional concert experience in an impressive manner.

Minka Ruile

Suivait une création mondiale d’une œuvre de 10’ « Cri muet », pour orchestre, chœur et saxophone du compositeur allemand Enjott Schneider, – label « nouvelle Europe »oblige et c’est tant mieux – par ailleurs président de l’équivalent de la SACEM allemande. Il s’agit sans doute de la première œuvre écrite en mémoire aux victimes des attentats parisiens de novembre 2015. Une belle œuvre, touchante, avec de belles interventions du soliste. Lequel a donné en bis une de ses compositions. Christian Elin se produit notamment avec les orchestres Munichois ; et pour la projection sonore, on était gâtés avec son bis! Sa composition et son interprétation étaient extraordinaires, une sorte de longue procession à la fois répétitive et polyphonique, on aurait dit une sorte de chaman!

Thierry Vagne

"If the Chamber Philharmonic Frankfurt are to play, you can always expect something special. After all, they are known to be an orchestra who are keen to tread new paths, and to present classical music in unusual places and in an unusual way. The audience in St. Bardo Church Petterweil were delighted with the concert animal musical (tierisch musikalisch). The programme included Symphony Opus 3 by Benjamin Britten, the composition "Where the bee dances" by Michael Nyman and the Symphony No. 83 in G minor by Joseph Haydn with the subtitle "The hen, the bear, the miracle." Conductor was Noam Zur. The cherry on top of this concert turned out to be the playing of the soprano saxophonist and composer Christian Elin. He has already played in the Amsterdam Concertgebouw, the Vienna Konzerthaus, the Berlin Konzerthaus and in Paris. Now together with the Frankfurt Chamber Philharmonic, he has rehearsed the piece "Where the Bee Dances" by the contemporary composer and film score writer Michael Nyman ("The Piano"). The orchestra and the soloist on the soprano saxophone delivered a rousing piece of music. The musicians played with such great intensity and tension that one could almost hear the bees dancing, wild and intense..."

Anne-Rose Dostalek

"How can anyone find themselves with music? How do composers develop their own unique style? For his new CD saxophonist and composer Christian Elin has put together his own music and eight pieces of colleagues. Congenially accompanied by artists such as the pianist Anna D’Errico, Elin produces a warm tone and a lively ductus: Many roads lead to oneself. In "Gate" by Graham Fitkin this path sounds minimalist and full of energy. Peter Michael Hamels "Anverwandlungen" ("Assimilations") evoke worlds of gamelan and ragas. Manfred Stahnkes computer assisted "khorsid ziba" comes as an archaic oriental coloured "showpiece" and then Christian Elin´s jazz inspired composition "May" sounds simply bewitching."

Dagmar Zurek

"Unique was Christian Elin's solo in front of the basilican altar. Both auditorium and listener were equally captured by his "Prelude and Hymn" which he composed two years ago. One felt oneself reminded of a violin solo sonata of J.S. Bach or a Claude Debussy prelude when the saxophonist weaved his wonderful garlands pulsating in the nave of the basilica, created echo effects and heightened himself ethereally and with round, crystal clear sound."

Gernot Walter

"The dark time of year is said to be the time for contemplation (and all sorts of other phrases). However, one can take time to reflect just as well in mid-Summer or late Spring, there's no need for grey skies. Sometimes all it takes is the right CD. And here it is. "Streaming" is the name of the opus by Christian Elin. ... What makes "Streaming" so exceptional is not any famous supporting musicians, but rather that Elin concentrates solely on himself. That means: solo saxophone. Elin betook himself with his instruments - a soprano, an alto and a tenor saxophone, to St. Antons Church in Augsburg where nearly everything was recorded. Quiescent pieces, such as "Your song within me", which is in two voices (and therefore recorded in a studio) were the result, absolutely winter-compliant pieces such as "Prayer and Fulfillment" or "In Silence" - and sunny pieces, such as "Prelude and Hymn" which has many dance elements. The title piece "Streaming" sounds just as the name implies: like a happy, streaming flow of water. Elin follows it from its source to its estuary, as it were. Fair and beautiful."

Bert Strebe

"Subsequently Christian Elin provided an exceptional sound experience, by playing the solo part in a concert for saxophone and orchestra by Alexander Glasunow, which is rarely heard in our concert halls. By varying the harmonies from velvety softness to shining metal, he showed his instrument to best advantage".

"The performance was in every respect an exceptional and unprecedented event. In the solo pieces Christian Elin presented himself as a consummate master of his instrument: all colours and tones, all skills and tricks, he seems to have them all at his disposal.... Summa summarum: A splendid evening with many new aural experiences!"

Christian Nees

"Convincing in both classical and avant garde articulation - Christian Elin is a master of the saxophone. As guest of the musicians association, he gave a performance at the Barfuesser church. His solo performance "new_art_sax" with works for saxophone and electronics was a small stroke of genius"

Eric Z. Eriksson

"The colourful finale was all the more exciting: ...The gleaming Far Eastern complexion..... as well as the microtonal instability of the soprano saxophone solo Mysterious Morning III by Fuminori Tanada created captivating opposing worlds. Once again the musicians astounded - above all the pianist Jan Philip Schulze and saxophonist Christian Elin: The Klangaktions were always an artists workshop as well"

Marco Frei

"The audience was deeply moved by Giya Kanchelis "Night Prayers". A soprano saxophone (Christian Elin), modulating in masterful intensity and frequently escalading to shrill adventures was linked to softly sung, distant sounding litanies on tape - and all that across a spherical bed of strings. A dramatic tone language with minimalistic sparingness of tones."

Martha Agethen

"Music by Webern, Nicolaus A. Huber, the American modernist Charles Wuorinen and his avant garde countryman, John Cage resounded just as accomplishedly, well outlined with the necessary precise intonation and in well-balanced ensemble sound as the highly complex "Quartett No.1" by Stefan Wolpe, composed shortly after 1950 and the even younger "Unfinished" for flute (Karoline Schulz), piccolo trumpet (Nenad Markovic) and alto saxophone (Christian Elin) by Vykintas Baltakas, born in 1972. The musicians played the piece, which appeared to be perpetually fragmentated with its short dialogue interjections, on the roam, as it were, along a row of some 20 music stands. The musical gesticulations, their continuous pacing up and down, sudden stops and a apparently random exchange of concert playing in the best regions of the instruments caused direct body language by the players, which concealed intentional comedy as well."

Achim Heidenreich



Press images

Photos may only be used for press purposes as part of reporting on Christian Elin. In the case of publication, the photographer must be given as the source of the image.

(c) Thomas Radlwimmer
(c) Eckhart Matthäus
(c) Eckhart Matthäus
(c) Laurent Bugnet


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