2014-2015 121st SEASON
Richardson Auditorium in historic Alexander Hall is the home of Princeton University Concerts.
Musical Dream Teams Spencer Tracy and Katharine Hepburn. Ginger Rogers and Fred Astaire. Richard Rodgers and Oscar Hammerstein. Margo Fonteyn and Rudolf Nureyev. All dream teams. And then there are the dream teams of classical music. Meryl Streep and the Takács String Quartet. Chris Thile and Edgar Meyer. Lisa Batiashvili and Paul Lewis. Brentano String Quartet and Joyce DiDonato. We’ve got a season full of them. In the 2014-2015 season, Princeton University Concerts will present some of the greatest virtuosos in the world, many of whom will form musical dream teams whose sums are even greater than their renowned parts. Because when great musicians team up to perform the great masterpieces of all time – or music written by and for themselves – they create performances for the ages. This is what we mean by
HISTORY IN THE MUSIC MAKING. Join us, and make our dream teams complete!
Concert Classics Series
THURSDAY, OCTOBER 2, 2014, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
EMERSON STRING QUARTET HAYDN Quartet in G Major, Op. 33, No. 5 BEETHOVEN Quartet No. 11 in F Minor, Op. 95 (“Serioso”) RAVEL Quartet in F Major Even Dream Teams must weather the retirement of a superstar. After 35 years of incomparable artistry with David Finckel, the Emerson Quartet has drafted a “young phenom”—44-year-old superstar cellist Paul Watkins, Music Director of the English Chamber Orchestra and longtime member of The Nash Ensemble of London. In Duke University’s The Thread, Watkins said his decision to join the multi-Grammy-winning Quartet was due to “the extraordinary verve and vigor to their playing, which is incredibly infectious—you just get swept up in it. These guys are absolute masters of their instruments, with phenomenally high standards.” Just as important, however, is the “real unanimity of thought” that characterizes this superlative group. “[During ‘tryout’ rehearsals] it felt so natural to make music with these three gents that, before too long, we stopped for some champagne. At that moment, I decided that life in the Emerson Quartet was for me. They’re all romantics at heart.” Come enjoy this brand new veteran Dream Team.
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Concert Classics Series
“a quartet that can easily morph into a jazz band.” The New York Times
THURSDAY, NOVEMBER 6, 2014, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
ÉBÈNE QUARTET* HAYDN Quartet in F Minor, Op. 20, No. 5, HOB III:35 SCHUMANN Quartet No. 3 in A Major, Op. 41, No. 3 plus a surprise mix of jazz standards “Someday My Prince Will Come” says the Disney song. He will indeed, on November 6, and he’s bringing three other princes with him. They are the virtuosos of the Ébène Quartet, Frenchmen known for moving seamlessly and with élan between classical and jazz (“Jazzical”?), enriching performances of each with the magic of the other. “A string quartet that can easily morph into a jazz band,” lauded The New York Times, and in praising their recent Carnegie Hall performance of a Schumann Quartet, The Times said the finale “took on a decidedly jazzy swing.” The Boston Globe hails the Quartet’s non-classical fare as “exciting and ear-opening.” With the second half of the Princeton program devoted to jazz, you might hear some Miles Davis or, in a nod to a local boy, a moving take on Bruce Springsteen’s Streets of Philadelphia, performed with instrumental majesty and surprisingly princely vocals.
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RICHARDSON AUDITORIUM IN ALEXANDER HALL
ISABELLE FAUST,* VIOLIN ALEXANDER MELNIKOV,* PIANO DVOŘÁK Four Romantic Pieces for Violin and Piano, Op. 75 ENESCU Impressions d’enfance for Violin and Piano, Op. 28 TCHAIKOVSKY Souvenir d’un lieu cher, Op. 42, No. 1 (“Meditation”) ANTHEIL Sonata No. 2 for Violin, Piano and Drums, W. 131 FRANCK Sonata for Violin and Piano in A Major Violinist Isabelle Faust founded a string quartet when she was 11 years old, which may explain why she learned so early on that in chamber music, listening to your partners is just as important as expressing your own personality. For more than a decade she has been listening closely to her duo partner, pianist Alexander Melnikov. “It’s quite rare to find anybody else who’s as inspiring over such a long period of time,” Faust said of their longevity. “This regular duo work has been a very important part of our musical development over quite some years—we are both constantly being enriched by each other’s ideas, questions and researches, criticism or experiences, while always deeply admiring the other’s
“Faust and Melnikov make music live and breathe … thrillingly.” The Times (London)
musicianship and mastery.” Says Melnikov, “The first time I heard Isabelle’s Bach I fell in love with her playing. It was exactly what I wanted to hear in this music and it’s still the case.” The duo won a Grammy nomination for their 2010 recording of the Beethoven sonatas for violin and piano, which they learned together from Beethoven’s original manuscripts. “With Beethoven you read his diaries, letters and sketchbooks,” said the pianist, who was moved to tears by them. “You can actually see a theme in the process of being born. You see how he constantly improved it— there were five or six variants—and finally you get it. It’s really heartbreaking to look at.”
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Concert Classics Series
THURSDAY, FEBRUARY 5, 2015, 8PM
Concert Classics Series
“It seemed to me that I was hearing a voice of God.” Amadeus playwright Peter Shaffer depicting Antonio Salieri recalling his reaction the first time he heard the Gran Partita
THURSDAY, FEBRUARY 12, 2015, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
CHICAGO SYMPHONY WINDS* MOZART MOZART
Serenade No. 12 for Winds in C Minor, K. 388 (“Nacht Musique”) Serenade No. 10 for 12 Winds and String Bass in B-flat Major, K. 361 (“Gran Partita”)
Thirteen magnificent musicians—wind players of the Chicago Symphony Orchestra—are coming to play one of Mozart’s most sublime works, rarely performed at this supreme level of artistry. Here’s how Amadeus playwright Peter Shaffer depicted composer Antonio Salieri recalling his reaction the first time he heard the Gran Partita: “Suddenly… an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! … This was a music I’d never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing a voice of God.” Following the concert will be a jaw-dropping opportunity for amateur musicians of all ages and levels to join the CSO musicians on stage to sight-read a symphony: another great late-night chamber jam!
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RICHARDSON AUDITORIUM IN ALEXANDER HALL
MARC-ANDRÉ HAMELIN,* PIANO PADEREWSKI MEMORIAL CONCERT MOZART
Sonata No. 18 in D Major, K. 576
HAMELIN Chaconne DEBUSSY Images, Book Two SCHUBERT Sonata No. 21 in B-flat Major, D. 960 “I am not aware of a greater marriage of intellect and sensuality,” Canadian-born Marc-André Hamelin once said of the music of Claude Debussy. Fittingly, the pianist himself has been praised in The New Yorker for “monstrously brilliant technique and his questing, deepthinking approach;” Alex Ross also called Hamelin’s hands “among the wonders of the musical world.” You might expect one of the great pianists of our time to work his way through
“among the wonders of the musical world.” Alex Ross for The New Yorker
all the time-honored piano concertos, but Hamelin seems more interested in dark horses than warhorses, and delights in discovering works by such little-known composers as Georgy Catoire, Xaver Scharwenka and Sophie Carmen Eckhardt-Gramatté. In Princeton, he will play works spanning four centuries by composers of somewhat greater renown: Mozart, Schubert, Debussy… and Hamelin (2013). Responding to the annoyance of having a cellphone interrupt a recital by pianist Hamelin, composer Hamelin of the devilish sense of humor penned the Valse Irritation d’aprés Nokia—so bring your own sense of humor along to this magnificent artist’s recital.
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Concert Classics Series
THURSDAY, FEBRUARY 26, 2015, 8PM
Concert Classics Series
THURSDAY, MARCH 26, 2015, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
LISA BATIASHVILI,* VIOLIN PAUL LEWIS,* PIANO SCHUBERT SCHUBERT BACH BEETHOVEN
Sonata in A Major, Op. 162, D. 574 (“Grand Duo”) Rondo in B Minor, Op. 70, D. 895 (“Rondo Brilliant”) Sonata in E Minor, BWV 1023 Sonata No. 10 in G Major, Op. 96
The mop-top musician to emerge from Liverpool most recently wasn’t born until after the breakup of those other four famous Liverpudlians. Pianist Paul Lewis didn’t take up piano until age 12 and learned about music at a local library, where he immersed himself in the recordings of the great Alfred Brendel, with whom he would later study. Ironically, it was Brendel who, after hearing Georgian-born Lisa Batiashvili perform in 2001, wrote, “Every note both sang and spoke... proving once more that great violinists reveal themselves at an early age.” Batiashvili has observed, “There is nothing more exciting than attending a live performance and feeling every moment with the artists... I am constantly striving to find new ways of expressing what’s within the music, and this helps to keep things fresh, new and exciting....” And Lewis, who is winning worldwide acclaim as an interpreter of Schubert, says, “People wonder whether there’s something valedictory about [Schubert’s] last sonata, but for me there’s almost a sense of acceptance… there’s not so much of a struggle anymore, just a sense of accepting your fate.”
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RICHARDSON AUDITORIUM IN ALEXANDER HALL
AUSTRALIAN CHAMBER ORCHESTRA* Richard Tognetti,* Conductor MARTIN FRÖST,* GUEST CLARINET HAYDN COPLAND JONNY GREENWOOD MOZART
Symphony No. 83 in G Minor (“La Poule”) Clarinet Concerto Water (Princeton premiere) Symphony No. 29 in A Major, K. 201
Hip, refreshing and brilliant, the Australian Chamber Orchestra has been called “a badass classical band” by Time Out New York while The Washington Post hails them for combining “the energy and vibe of a rock band with the ability of a crack classical chamber group.” Their instruments alone represent an all-star lineup, including the legendary 1743 Carrodus Guarneri del Gesù violin; the Carrodus made by del Gesù, called one of the four or five of the finest violins in the world; a 1759 Guadagnini; a 1728/9 Strad; and a 1729 Giuseppe Guarneri filius Andreæ cello. But it’s the way these virtuosi play their extraordinary instruments that makes them a Dream Team. At Princeton they’ll premiere Water by Radiohead guitarist Jonny Greenwood. The Orchestra will also team up with a clarinetist some are saying may be the greatest of all time. “Fröst exhibited a virtuosity and a musicianship unsurpassed by any clarinetist—perhaps any instrumentalist—in my memory,” gushed The New York Times.
“a badass classical band.” Time Out New York
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Concert Classics Series
THURSDAY, APRIL 16, 2015, 8PM
Concert Classics Series
“A bona-fide star.” The New Yorker
THURSDAY, APRIL 30, 2015, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
ANTHONY ROTH COSTANZO,* COUNTERTENOR
Bryan Wagorn,* Piano Songs by Duparc, Britten, Liszt, Mozart, Handel, Gershwin The delightfully funny and engaging Princeton graduate Anthony Roth Costanzo will change your idea of countertenors when he returns to his alma mater to take the stage, now “a bona-fide star,” according to The New Yorker. While the major part of his repertoire consists of works written for castrati, Costanzo prefers to evoke Frankie Valle, the Bee Gees, Michael Jackson, Mick Jagger and Prince as singers who employed their upper registers to no small advantage. Costanzo says he simply has “a more reinforced, operatic style than they did.” Rather than confine himself to the standard countertenor fare, Costanzo revels in branching out. “A recital provides a rare opportunity for me to explore my musical and artistic self,” he tells us. “Unlike opera, art songs are less often written for a specific voice type, and thus are commonly transposed to fit a particular singer’s tessitura. Duparc’s lush and ardent filigree, Liszt’s romantic and nuanced melodies— these are joys I don’t get to explore on the opera stage, but ones that have a unique resonance in the countertenor voice and to me personally. What I have learned in my opera career translates in fascinating and wonderful ways to the romantic repertoire, and even to songs by Gershwin.” Singing “I Got Rhythm,” this versatile artist might just tap dance his way into your heart.
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RICHARDSON AUDITORIUM IN ALEXANDER HALL
TAKÁCS STRING QUARTET MERYL STREEP,* NARRATOR Readings from Philip Roth’s novella Everyman interspersed with short works for string quartet by Arvo Pärt, Philip Glass and Schubert Reading Philip Roth’s Everyman—a story described by The New York Times as “a multi-divorced advertising man grappling with family estrangement, illness and death”—Takács Quartet violinist Ed Dusinberre was struck by its “richly musical qualities.” Dusinberre was reminded of Schubert’s compelling rumination on his own mortality, Death and the Maiden. So, in an inspired concert at Carnegie Hall, the Takács paired a performance of the Schubert and moving works for string quartet by Philip Glass and Arvo Pärt with readings from Everyman read by the late Philip Seymour Hoffman. Mr. Roth’s casting choice for the Princeton concert is both inspired and inevitable: Meryl Streep. “Of all of our American acting marvels, she is the most profound,” he told us. “To misappropriate a line from Othello, I would walk barefoot to Palestine to watch her perform.” We asked how the Princeton concert would differ from the previous one. “Since I have lengthened the narration for this performance,” he said, “I think the audience will get a fuller sense of the book’s preoccupation with assailability: with the accumulation of physical insults, the extinguishing of vitality, and the vulnerability inherent to living. The book is the story of a marked man. All are marked. Death marks everyone. To my mind the gravest line written in English between Chaucer and Shakespeare is this one from the medieval morality play, Everyman: ‘O Death, thou comest when I had thee least in mind.’” Responding to our question about his own deep connection to music, Mr. Roth replied, “The immediacy of the pleasure of music, its existence as a wholly other reality apart from the world of words, the way it fulfills some unknown need—well, I will miss it sorely when I’m gone.” You must not miss this unique collaboration among some of the most brilliant creative and interpretive artists of our time.
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Special Event
FRIDAY, SEPTEMBER 19, 2014, 7:30PM
Special Event
THURSDAY, OCTOBER 9, 2014, 7:30PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
CHRIS THILE, MANDOLIN EDGAR MEYER,* BASS
At Chris Thile’s sold-out solo show last season on our series, he coined the term “stouring,” telling the audience that Richardson Auditorium was so incredible that he would rather stay put and have all of his tour audiences come to him. This year he’s back with bassist Edgar Meyer. No musician has done more to bridge the 19th century’s central European classical music tradition with the sounds of Appalachia today—think Blue Danube to Bluegrass—than composer and double bass magician Edgar Meyer. Bassist on the Grammy-winning Appalachia Waltz and The Goat Rodeo Sessions (featuring Chris Thile), he has said that pleasing himself as a bass player is “a horrendous undertaking.” Meyer has composed works for cellist Yo-Yo Ma, violinists Joshua Bell and Hilary Hahn, the Emerson Quartet, and Grammy-winning mandolinist Thile, whose recent recital at Carnegie Hall (warm-up to his triumphant Princeton debut) was called “breathtaking,” “revelatory,” “poignant” and “exuberant” by The New York Times. “Edgar is one of the biggest influences on my musical life, and now I’m in a duo with him and writing songs with him,” says Thile. “This was my dream.” The enthusiasm is mutual. “I can’t think of another musician with his combination of abilities,” said Meyer. “When Chris came on the scene, it was a wonderful feeling that the next generation was going to take things well beyond what we had imagined. Mandolin and bass can be an excellent instrumentation. I like the way they interact dynamically and the way they contrast each other and don’t get in each other’s space.” You be sure to get in their space at Richardson Auditorium. These two MacArthur Geniuses will cross traditional boundaries in a diverse program of largely original music.
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Special Event
WEDNESDAY, FEBRUARY 18, 2015, 7:30PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
BRENTANO STRING QUARTET JOYCE DIDONATO, MEZZO-SOPRANO CHARPENTIER DEBUSSY JAKE HEGGIE
Suite in D Minor String Quartet in G Minor, Op. 10 Camille Claudel: Into the Fire (Princeton premiere)
Fast on the heels of the enormous success of Joyce DiDonato’s first recital appearance on our series this season, and following the end of the Brentano String Quartet’s residency at Princeton, we are pleased to offer a way to hear both of these great artists again…together! This Dream Team will join forces for the Princeton premiere of Camille Claudel: Into the Fire, a song cycle for Mezzo-soprano and String Quartet written by composer Jake Heggie with lyrics by Gene Scheer Heggie. The work focuses on the tragic demise of the genius sculptor and lover of Rodin, Camille Claudel. Claudel’s career ended when she was confined to a mental hospital for the last three decades of her life. Her involuntary incarceration, which many considered unnecessary, almost doomed her to obscurity. The piece, which received its world premiere in San Francisco, was called “a heartbreaker,” by The San Francisco Chronicle, and was described as “a score of deep, squishy sentimentality and enormous beauty.” When asked what attracted him to Camille Claudel, composer Jake Heggie said, “I am consistently drawn to stories about transformative quests for identity. Claudel’s story is of a woman struggling to be known on her own, and on her own terms, for the genius that she was given. It touches on elements of feminism, on the art world, on judgments of the public versus the internal life of the artist, and on mental illness. In the end, Camille [Claudel] does triumph, because her sculptures love and dance and sing.”
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Family Concerts
Meet
the
M usic
Your youngster’s life-long love of music will begin the moment he or she “meets the music” in person at Richardson Auditorium in Alexander Hall. The popular concerts for kids ages 6-12 and their families return, after a first season of two sold-out performances. Featuring musicians of The Chamber Music Society of Lincoln Center, hosted by composer Bruce Adolphe.
SATURDAY, NOVEMBER 8, 2014, 1PM
The Magical World of Maurice Ravel
A young pianist who is struggling to play a piece by Ravel has a dream in which the composer himself appears and explains the musical mysteries of his magical-sounding music. Will the young pianist play better upon awakening? Find out what happens—and learn the secrets of Ravel’s entrancing music.
SATURDAY, MARCH 21, 2015, 1PM
Inspector Pulse Pops a String
It is only when the wacky Inspector breaks a piano string that he learns that pianos even have strings inside. Who knew that? How can we make so much music with just stretched strings? Inspector Pulse gets answers to a string of questions when he is visited by a string quartet.
Richardson Chamber Players
Last season’s concerts sold out quickly. Buy your tickets early, and BUY BOTH CONCERTS TOGETHER TO SAVE 20% OFF SINGLE TICKET PRICES. Single tickets go on sale Tuesday, September 2, 2014.
Michael Pratt, Director Our resident ensemble of performance faculty, distinguished guest artists and supremely talented students offer three Sunday afternoon concerts of mixed chamber works.
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SUNDAY, OCTOBER 19, 2014, 3PM
Divine Winds
Works by Mozart, Poulenc and Giuliani
SUNDAY, NOVEMBER 23, 2014, 3PM
Russian Treasures
Works by Rachmaninoff, Medtner and Stravinsky
SUNDAY, MARCH 1, 2015, 3PM
Pierrot’s Stage
Featuring Schoenberg’s Pierrot Lunaire, Op. 21
SUBSCRIBE TODAY
TAKE ADVANTAGE OF ONE OF THE LOWEST TICKET PRICES IN TOWN 609.258.2800 · princetonuniversityconcerts.org
TICKET PRICES SUBSCRIPTIONS
SPECIAL EVENTS
CONCERT CLASSICS SERIES (THE BEST DEAL) 8 Thursday night concerts
Add these special events to a CONCERT CLASSICS SERIES and receive a 20% discount off of single ticket prices:
Emerson String Quartet Ébène Quartet Isabelle Faust/Alexander Melnikov Chicago Symphony Winds Marc-André Hamelin Lisa Batiashvili/Paul Lewis Australian Chamber Orchestra Anthony Roth Costanzo
A $249 B $199 C $119 RICHARDSON CHAMBER PLAYERS 3 Sunday afternoon performances All subscriptions are $39. Or, add the three concerts
to a CONCERT CLASSICS SERIES subscription and pay just $24.
MEET THE MUSIC
Buy both concerts now for just $16 adults, $8 kids and save 20% off single ticket prices.
À LA CARTE – MAKE YOUR OWN SERIES Choose 3 or more different concerts from all of our offerings and save 10% off the single ticket prices.* Please call us at 609.258.2800 to make your own series or buy one of our suggested packages below.
DREAM TEAMS Chris Thile, Mandolin & Edgar Meyer, Bass Isabelle Faust, Violin & Alexander Melnikov, Piano Lisa Batiashvili, Violin & Paul Lewis, Piano Brentano String Quartet & Joyce DiDonato, Mezzo-soprano
BLOCKBUSTERS
Emerson String Quartet Marc-André Hamelin, Piano Australian Chamber Orchestra
STRING QUARTETS Emerson String Quartet Èbéne Quartet Brentano String Quartet & Joyce DiDonato, Mezzo-soprano
EMERGING STARS
Ébène Quartet Anthony Roth Costanzo, Countertenor Isabelle Faust, Violin & Alexander Melnikov, Piano
SUNDAY AFTERNOON SERENADES
Richardson Chamber Players (3 concerts)
* The Takács String Quartet & Meryl Streep concert is sold at a discounted price to FULL SUBSCRIBERS ONLY. À LA CARTE SUBSCRIBERS may purchase tickets to this concert before the general public as an add-on to your subscription. One ticket per subscription.
TAKÁCS STRING QUARTET & MERYL STREEP A $48 B $40 C $28
LIMIT ONE TICKET PER SUBSCRIPTION
CHRIS THILE, Mandolin & EDGAR MEYER, Bass All seats $32 BRENTANO STRING QUARTET & JOYCE DiDONATO, Mezzo-soprano A $36 B $28 C $16 STUDENT TICKETS Students of all ages with a valid ID can attend our concerts for as little as $5. Student tickets go on sale Tuesday, September 2, 2014.
SINGLE TICKETS Tickets for SPECIAL EVENTS will go on sale ONLINE ONLY on Friday, August 1, 2014. All other single tickets will go on sale Tuesday, September 2, 2014. Call the Frist Campus Center Box Office at 609.258.9220.
VENUES & PARKING All concerts take place in Richardson Auditorium in Alexander Hall, unless otherwise noted. Richardson Auditorium is located on the Princeton campus behind Nassau Presbyterian Church, 61 Nassau Street.
ON CAMPUS Parking is available in the visitor parking area in Lot 23 and at the West Garage, both located on Elm Drive off of Faculty Road, a ten-minute walk to Richardson Auditorium. TigerTransit extends its hours of the Central Line shuttle bus from both locations to Richardson on concert nights. The shuttle runs every fifteen minutes until 10:30 pm.
OFF CAMPUS The best place to park is at metered spaces near Palmer Square and along Nassau Street. Three municipal parking garages that charge a fee are located on Chambers, Hulfish and Spring Streets in downtown Princeton near Palmer Square.
ACCESSIBILITY Richardson Auditorium is accessible to patrons with disabilities. Space for wheelchair seating is available upon request. A limited number of parking spaces are available on campus for people with valid handicap permits. Please call the Concert Office for more information at 609.258.2800.
PLEASE NOTE A $6 processing fee is added to all orders. We are not able to offer refunds or exchanges on ticket orders. All programs and artists are subject to change.
WOOLWORTH CENTER PRINCETON NJ 08544
If you received a duplicate, please recycle this brochure by passing it along to a friend.
WHY SUBSCRIBE? SINGLE TICKET DISCOUNT Full subscribers receive $5 off single ticket prices to many Princeton University Concert events.
TICKET DISCOUNTS CONCERT CLASSICS SERIES subscribers can add all other events to a subscription and receive a discount.
ADVANCE PURCHASES All subscribers may purchase tickets to our SPECIAL EVENTS before the general public by adding them onto a subscription purchase.
THE BEST SEATS Subscribers get the best reserved seats and can choose exactly where they want to sit.
PHOTOGRAPHY EMERSON STRING QUARTET: Lisa-Marie Mazzucco. ÉBÈNE QUARTET: Julien Mignot. ISABELLE FAUST & ALEXANDER MELNIKOV: Marco Borggreve. MOZART Illustration: carol a.s. derks. MARC-ANDRÉ HAMELIN: Fran Kaufman. LISA BATIASHVILI: Anja Frers/DG. PAUL LEWIS: Julien Mignot. MARTIN FRÖST: Mats Bäcker. ANTHONY ROTH COSTANZO: Matthu Placek. MERYL STREEP: Brigitte Lacombe. TAKÁCS STRING QUARTET: Ellen Appel. CHRIS THILE & EDGAR MEYER: Michael Wilson. BRENTANO STRING QUARTET: Christian Steiner. JOYCE DiDONATO: Simon Pauly. MEET THE MUSIC Illustrations: Roger Roth. GRAPHIC DESIGN and COVER ILLUSTRATION
carol a.s. derks | derkstudio