piano - The Aesthetics of Music and Sound / Elf Dance. Tempo di ... Morten Heide is a professional...
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Lunchtime Concert in The Winter Garden, University of Southern Denmark at Odense 12:00 noon - 1:00 p.m. Thursday, October 29, 2015. Admission is free. MORTEN HEIDE piano PROGRAM Carl Nielsen (1865-1931) PROGRAM NOTES The goal of this program is to give you – the listener – a chronological listening experience of the compositional development in the works for piano by the Danish national composer Carl Nielsen, whose 150 th anniversary is widely celebrated in 2015. Carl Nielsen (1865-1931) was born in Sortelung in the countryside south of Odense. His father was a well-known folk musician. Early on Carl went along with his dad to play at weddings and other celebrations. Improvisation and counterpoint were important in the folk music of the time, and little Carl's talent in improvising and performing in counterpoint to the playing of the musicians was a skill he made good use of later on as a professional composer. The five short character pieces of Nielsen's op. 3 are uncomplicated in melodic, harmonic and tonal structure, and are marked by a clarity of linear movement within homophonic textures. In Five Piano Pieces, op. 3 the first piece, Folk Melody, stands as a melancholic remembrance of Nielsen's childhood spent playing folk music on Funen. The third piece, Arabesque, was the one of the five that Nielsen was most proud of, mainly due to its originality. It stands in notable contrast to the general song-without-words and lyric character of the other pieces. Arabesque was composed with the poem of that name by Jens Peter Jacobsen in mind. The poem's title refers to its free versification rather than to the content. Jacobsen's lines “Have you got lost in the dark forest? / Do you know Pan?” appear as a motto in the published score. The piece contains the sudden sforzandi (i.e. accents) and the melisma-like figurations, with five tones encircling a single note, which later became prominent in Nielsen's compositions. Nielsen's manipulation of tonal ambiguity to create dramatic effects, typical in his later compositions, is foreshadowed in the Arabesque by a delay until the final calming measure in stating the piece's tonic D Major chord. The Five Piano Pieces do not only contain a number of stylistic characteristics which were to appear more frequently in later works, but also provide evidence of some of the ways in which Nielsen was influenced by the musical and intellectual climate of late nineteenth-century Denmark. Nielsen had three children, and it is generally assumed that the six Humoresque Bagatelles, op. 11 were written as a dedication to the young members of his family. The pieces are light and humorously innocent in character; much of this humor is achieved through figurations and articulations imitating childrens' subjects. The jumping jack is depicted, for example, through a loud, rapid five-note figure in the right hand, which seems to leap unexpectedly from a decelerating and dynamically receding phrase. The element of surprise is heightened by the sforzando [i.e. accentuated) articulation at each entrance of the five-note figure. Figurations calling for a similar five-note hand position, without finger passing, occur elsewhere in the Humoresque Bagatelles, and are frequently used by Nielsen in his later piano works, often with sforzandi for dramatic or humorous emphasis. The short and stately Festival Prelude was dedicated to his friend, the famous painter Jens Ferdinand Willumsen, and was first published on the front page of Denmark's main daily newspaper, Politiken, on New Year's Day 1901. The work, which Nielsen composed to mark the beginning of the new century, is characterized by massive chordal textures and its sustained forte dynamic levels. A Dream on “Silent Night” is a delicately poetic paraphrase of the famous Franz Gruber carol. The composition, which can be heard as a parody on “Silent Night”, chromatically embellishes a setting of the melody in the tenor and bass voices. Characteristic in Nielsen's compositional technic is the harmonically dualistic ambiguity between minor and major. This is clearly heard in this piece. On 22 March 1917 Nielsen wrote to his daughter Irmelin: “I have had a lot to do, and I've also begun a new piano work, a Theme and Variations, which interests me enormously. The theme begins in B minor and ends in G minor. It follows that every time a new variation begins we are refreshed again by the new [tonality]. I've often thought that variation works can be tonally monotonous, and this is a way round the problem.” The Theme and Variations, op. 40 is modeled after the nineteenth-century character variation form and contains an original theme followed by fifteen variations. The composition showed a new path in Nielsen's development going astray from tonality. The piece was a tough nut to crack by the critics at the time, but Nielsen himself drew attention to the 'psycho-physical' aspect of the design as well as its technical construction. In a letter to his friend, the Dutch composer Julius Röntgen, Nielsen defended himself from a sympathetic criticism of the ending: “It would have been easy enough to make a wild, effective conclusion; but I came to the result you see because the architectonic plan of the whole work is best served by an ordinary ending. Looking back for a moment over the whole piece and recalling the theme and its simple structure, then it must be as it is; or if we consider Variation 15 [with sharp dotted rhythms and starkly opposed registers] as a wild defence of a man who is fighting with his back to a mountain of ice and who finally, as if drunk and deafened by the battle, stumbles away, then it's right that the entire conclusion should be 'uninteresting' [i.e. undemonstrative], just like a character in a play who, having fought to the end and gone his way, no longer has to attract the main interest to himself and has no wish to do so.” Carl Nielsen was born in the late-Romantic era but during his lifetime the stylistic trends in art and music changed drastically and Nielsen partly followed some of these trends. Free tonality and even serialism had manifested strongly among composers towards the end of Carl Nielsen's life which you'll hear in his last major piano work: Three Piano Pieces, op. posth. 59. This opus is the most progressive of Nielsen's piano works in its treatment of tonality; the composition combines impressionistic, polytonal and atonal techniques within each of the pieces, and contains the only instances in Nielsen's keyboard writing of twelve-tone composition and pitch indeterminacy such as that heard in the third piece's first section, where cluster harmonies in the left hand at the bottom of the instrument imitates a bass drum. All these varying twentieth-century techniques are set in contrast with the more traditional tonal and modal structures employed in each piece. –compiled by Morten Heide from text written by Mina F. Miller and David Fanning, October 2015 Fem klaverstykker / Five Piano Pieces, op. 3 (1890) 1. Folketone / Folk Melody. Andante 2. Humoreske / Humoresque. Allegretto giocoso 3. Arabeske / Arabesque. Moderato 4. Mignon. Moderato grazioso 5. Alfedans / Elf Dance. Tempo di valse 6. Humoreske-Bagateller / Humoresque Bagatelles, op. 11 (1894-97) 1. Goddag! Goddag! / Good Morning! Good Morning! Allegretto 2. Snurretoppen / The Spinning Top. Presto 3. En lille langsom vals / A Little Slow Waltz. Valse lento 4. Sprællemanden / The Jumping Jack. Poco allegretto 5. Dukke-Marsch / Doll's March. Allegro moderato 6. Spilleværket / The Musical Clock. Allegretto Scherzando Festpræludium / Festival Prelude (1900) Tempo giusto Drømmen om ”Glade Jul” / The Dream of ”Silent Night” (1905) Poco adagio Tema med Variationer / Theme and Variations, op. 40 (1917) Andante Tre Klaverstykker / Three Piano Pieces op. Posth. 59 (1927-28) 1. Impromptu. Allegro fluente 2. Molto adagio 3. Allegro non troppo
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Transcript of piano - The Aesthetics of Music and Sound / Elf Dance. Tempo di ... Morten Heide is a professional...
Lunchtime Concert in The Winter Garden, University of Southern Denmark at Odense
12:00 noon - 1:00 p.m. Thursday, October 29, 2015. Admission is free.
MORTEN HEIDE piano
PROGRAM Carl Nielsen(1865-1931)
PROGRAM NOTES
Thegoalofthisprogramistogiveyou–thelistener–achronologicallisteningexperienceofthecompositionaldevelopmentintheworksforpianobythe
DanishnationalcomposerCarlNielsen,whose150thanniversaryiswidelycelebratedin2015.
CarlNielsen(1865-1931)wasborninSortelunginthecountrysidesouthofOdense.Hisfatherwasawell-knownfolkmusician.EarlyonCarlwentalong
withhisdadtoplayatweddingsandothercelebrations.Improvisationandcounterpointwereimportantinthefolkmusicofthetime,andlittleCarl's
talentinimprovisingandperformingincounterpointtotheplayingofthemusicianswasaskillhemadegooduseoflateronasaprofessionalcomposer.
ThefiveshortcharacterpiecesofNielsen'sop.3areuncomplicatedinmelodic,harmonicandtonalstructure,andaremarkedbyaclarityof linear
movementwithin homophonic textures. InFive Piano Pieces, op. 3 the first piece,Folk Melody, stands as amelancholic remembranceofNielsen's
childhoodspentplayingfolkmusiconFunen.Thethirdpiece,Arabesque,wastheoneofthefivethatNielsenwasmostproudof,mainlyduetoitsoriginality.
Itstandsinnotablecontrasttothegeneralsong-without-wordsandlyriccharacteroftheotherpieces.Arabesquewascomposedwiththepoemofthat
namebyJensPeterJacobseninmind.Thepoem'stitlereferstoitsfreeversificationratherthantothecontent.Jacobsen'slines“Haveyougotlostinthe
darkforest?/DoyouknowPan?”appearasamottointhepublishedscore.Thepiececontainsthesuddensforzandi(i.e.accents)andthemelisma-like
figurations,withfivetonesencirclingasinglenote,whichlaterbecameprominentinNielsen'scompositions.Nielsen'smanipulationoftonalambiguityto
createdramaticeffects,typicalinhislatercompositions,isforeshadowedintheArabesquebyadelayuntilthefinalcalmingmeasureinstatingthepiece's
tonicDMajorchord.TheFivePianoPiecesdonotonlycontainanumberofstylisticcharacteristicswhichweretoappearmorefrequentlyinlaterworks,
butalsoprovideevidenceofsomeofthewaysinwhichNielsenwasinfluencedbythemusicalandintellectualclimateoflatenineteenth-centuryDenmark.
Nielsenhadthreechildren,anditisgenerallyassumedthatthesixHumoresque Bagatelles, op. 11werewrittenasadedicationtotheyoungmembers
ofhisfamily.Thepiecesarelightandhumorouslyinnocentincharacter;muchofthishumorisachievedthroughfigurationsandarticulationsimitating
childrens'subjects.Thejumpingjackisdepicted,forexample,throughaloud,rapidfive-notefigureintherighthand,whichseemstoleapunexpectedly
fromadeceleratinganddynamicallyrecedingphrase.Theelementofsurpriseisheightenedbythesforzando[i.e.accentuated)articulationateachentrance
ofthefive-notefigure.Figurationscallingforasimilarfive-notehandposition,withoutfingerpassing,occurelsewhereintheHumoresqueBagatelles,and
arefrequentlyusedbyNielseninhislaterpianoworks,oftenwithsforzandifordramaticorhumorousemphasis.
TheshortandstatelyFestival Preludewasdedicatedtohisfriend,thefamouspainterJensFerdinandWillumsen,andwasfirstpublishedonthefront
pageofDenmark'smaindailynewspaper,Politiken,onNewYear'sDay1901.Thework,whichNielsencomposedtomarkthebeginningofthenewcentury,
ischaracterizedbymassivechordaltexturesanditssustainedfortedynamiclevels.
A Dream on “Silent Night”isadelicatelypoeticparaphraseofthefamousFranzGrubercarol.Thecomposition,whichcanbeheardasaparodyon
“SilentNight”, chromaticallyembellishesasettingof themelody in the tenorandbassvoices.Characteristic inNielsen's compositional technic is the
harmonicallydualisticambiguitybetweenminorandmajor.Thisisclearlyheardinthispiece.
On22March1917NielsenwrotetohisdaughterIrmelin:“Ihavehadalottodo,andI'vealsobegunanewpianowork,aThemeandVariations,which
interestsmeenormously.ThethemebeginsinBminorandendsinGminor.Itfollowsthateverytimeanewvariationbeginswearerefreshedagainbythe
new[tonality].I'veoftenthoughtthatvariationworkscanbetonallymonotonous,andthisisawayroundtheproblem.”TheTheme and Variations, op.
40ismodeledafterthenineteenth-centurycharactervariationformandcontainsanoriginalthemefollowedbyfifteenvariations.Thecompositionshowed
anewpathinNielsen'sdevelopmentgoingastrayfromtonality.Thepiecewasatoughnuttocrackbythecriticsatthetime,butNielsenhimselfdrew
attentiontothe'psycho-physical'aspectofthedesignaswellasitstechnicalconstruction.Inalettertohisfriend,theDutchcomposerJuliusRontgen,
Nielsendefendedhimselffromasympatheticcriticismoftheending:“Itwouldhavebeeneasyenoughtomakeawild,effectiveconclusion;butIcameto
theresultyouseebecausethearchitectonicplanofthewholeworkisbestservedbyanordinaryending.Lookingbackforamomentoverthewholepiece
andrecallingthethemeanditssimplestructure,thenitmustbeasitis;orifweconsiderVariation15[withsharpdottedrhythmsandstarklyopposed
registers]asawilddefenceofamanwhoisfightingwithhisbacktoamountainoficeandwhofinally,asifdrunkanddeafenedbythebattle,stumbles
away,thenit'srightthattheentireconclusionshouldbe'uninteresting'[i.e.undemonstrative],justlikeacharacterinaplaywho,havingfoughttotheend
andgonehisway,nolongerhastoattractthemaininteresttohimselfandhasnowishtodoso.”
CarlNielsenwasborninthelate-RomanticerabutduringhislifetimethestylistictrendsinartandmusicchangeddrasticallyandNielsenpartlyfollowed
someofthesetrends.FreetonalityandevenserialismhadmanifestedstronglyamongcomposerstowardstheendofCarlNielsen'slifewhichyou'llhear
inhislastmajorpianowork:Three Piano Pieces, op. posth. 59.ThisopusisthemostprogressiveofNielsen'spianoworksinitstreatmentoftonality;
thecompositioncombinesimpressionistic,polytonalandatonaltechniqueswithineachofthepieces,andcontainstheonlyinstancesinNielsen'skeyboard
writingoftwelve-tonecompositionandpitchindeterminacysuchasthatheardinthethirdpiece'sfirstsection,whereclusterharmoniesinthelefthand
atthebottomoftheinstrumentimitatesabassdrum.Allthesevaryingtwentieth-centurytechniquesaresetincontrastwiththemoretraditionaltonal
andmodalstructuresemployedineachpiece.–compiledbyMortenHeidefromtextwrittenbyMina F. Miller and David Fanning,October2015
Fem klaverstykker / Five Piano Pieces, op. 3(1890)
1. Folketone/FolkMelody.Andante
2. Humoreske/Humoresque.Allegrettogiocoso
3. Arabeske/Arabesque.Moderato
4. Mignon.Moderatograzioso
5. Alfedans/ElfDance.Tempodivalse
6.
Humoreske-Bagateller / Humoresque Bagatelles, op. 11(1894-97)
1. Goddag!Goddag!/GoodMorning!GoodMorning!Allegretto
2. Snurretoppen/TheSpinningTop.Presto
3. Enlillelangsomvals/ALittleSlowWaltz.Valselento
4. Sprællemanden/TheJumpingJack.Pocoallegretto
5. Dukke-Marsch/Doll'sMarch.Allegromoderato
6. Spilleværket/TheMusicalClock.AllegrettoScherzando
Festpræludium / Festival Prelude (1900)Tempogiusto
Drømmen om ”Glade Jul” / The Dream of ”Silent Night”(1905)
Pocoadagio
Tema med Variationer / Theme and Variations, op. 40(1917)
Andante
Tre Klaverstykker / Three Piano Pieces op. Posth. 59 (1927-28)
1. Impromptu.Allegrofluente
2. Moltoadagio
3. Allegronontroppo
Morten HeideisaprofessionalDanishchoralconductor,concertpianistandpianoteacherlivinginStockholm,Sweden,whereherecentlygraduated(June
2015)withaMasterinChoralConductingfromtheRoyalCollegeofMusicwithprof.FredrikMalmbergashisprincipalteacher.
MortenHeidecompletedhisbachelorandmaster’sstudiesinpianoattheCarlNielsenAcademyofMusicinOdense,Denmark,undertheguidanceof
ChristinaBjørkøe,RosalindBevan,ErikKaltoftandJohnDamgaard.Heoftenperformedassoloist,e.g.inSimonHolt’sEraMadrugadaandinGyorgyLigeti’s
ChamberConcertoasappointedpianistintheannualMusicHarvestFestivalSinfoniettainOdense.Hehasperformedassoloistandensemblemusician
underthebatonofe.g.StefanAsbury,PaulHoskins,ChristopherAustinandMei-AnnChen.MortenHeidestudiedpianoforoneyearattheHochschulefur
MusikundTheaterinHamburgwithVolkerBanfieldandMirianMigdalwithwhomhepreparedforhisfinalmaster’sexamfromtheCarlNielsenAcademy
ofMusicin2006.In2010MortenHeidefinishedhispostgraduateperformancestudies(SoloistClass)inpianoattheAcademyofMusicandDramaticArts
inOdense, focusingon the interpretationof contemporarymusic.Hisdebut concertswherehighlypraised in thepressandbroadcastby theDanish
BroadcastingCorporationonradiochannelP2.
Inthespringof2011MortenHeidecompletedhisfirstmaster’sinchoralconductingattheAcademyofMusicandDramaticArtsinOdense,studying
withAliceGranum.InthesameperiodMortenHeidetouredLatviatogetherwithKoldingChamberChoir,leadingthechoirinwell-receivedchurchconcerts.
HeidewasconductorandmusicaldirectorofKoldingChamberChoirfromSeptember2007untilmovingtoSweden.InadditiontoleadingKoldingChamber
Choir,hewasalsotheconductorofVestsjællandsChamberChoirfromaugust2011,andJyskAkademiskKorfrom2012.MortenHeidehasfurthermore
conductedsuchprominentprofessionalchoirsasTheDanishNationalVocalEnsemble,TheSwedishRadioChoirandEricEricsonChamberChoir.
ManygrantshavegivenMortenHeidetheopportunitytoparticipateinmasterclasseswith,amongothers,thepianistsMirtaHerrera,AlanSternfeld,
RogerMuraro,Pierre-LaurentAimardandYvonneLoriod-Messiaen.HisworktogetherwithMuraro,AimardandLoriod-Messiaenfocusedmainlyonthe
interpretationofcontemporarypianomusic,especiallythatoftheFrenchcomposerOlivierMessiaen.MortenHeidehasalsoparticipatedinaseriesof
masterclassesaschoralconductorwiththerenownedFinnishchoralconductorTimoNouranne,theSwedishconductorCeciliaRydingerAlinandthe
BritishconductorPaulHillier.
MortenHeidehasperformedassoloist,chambermusicianandvocalaccompanist inconcerts inDenmark,Norway,Sweden,Germany,France, Italy,
IcelandandMexico.HispianisticfocusisonforgottengemsofthegreatmasterssuchasBach’sItalianVariations,themusicofAlkan,aswellasonthe
musicofthe20thand21stcenturies.InAugust2006MortenHeideperformedtheDanishpremiereofManuelPonce’sConciertoRománticoforpianoand
orchestrawithOdenseSymphonyOrchestraunderthebatonofMei-AnnChen.In2008MortenHeideparticipatedinthecelebrationofthecentenaryof
FrenchcomposerOlivierMessiaenperformingamongotherpiecesMessiaen'sQuartetfortheendoftimeandthevastpianocycleVingtRegardssurl’Enfant-
Jésusinseveralconcerts.MortenHeidewasthefirstDanishpianisttorecordthecompleteVingtRegardssurl’Enfant-Jésusinthespringof2011.
MortenHeideisinterestedinexploringthewaysinwhichtheprocessofpreparingandinterpretingamusicalworkforperformancemaybecompared
andcontrastedwithmoretraditionallyrecognizedformsofacademicresearch.HeisamemberofNNIMIPA:NordicNetworkfortheIntegrationofMusic
Informatics, Performance and Aesthetics http://www.nnimipa.org in order to pursue this area of inquiry together with other researchers from
conservatories and universities in the five Nordic countries. He is also affiliated with the University of Southern Denmark research program The
PerformancesofEverydayLiving-TheAestheticsofMusicandSoundhttp://www.soundmusicresearch.org.
Formoreinformationpleasevisitwww.mortenheide.dk.
Itisapleasurefor
• theresearchprogramThePerformancesofEverydayLiving-TheAestheticsofMusicandSoundattheInstitutefortheStudyofCulture(IKV)at
SDUhttps://www.facebook.com/groups/TheAestheticsofMusicandSound/andwww.soundmusicresearch.org
• M*U*S*I*C–MusicUnionforStudentInteractionandCreativityhttp://www.facebook.com/groups/sdu.musicandhttp://music.sdu.dk/
• ResQ-TekniskService-SDU’sServiceDepartment
topresentthisLunchtimeConcertwithMortenHeide.Today’sLunchtimeConcertisthe47thLunchtimeConcertsincetheseriesbeganinApril2010.Itis
justoneofthemanyactivitiesrelatedtomusicresearchinvolvingpracticingmusiciansfromOdense,Esbjerg,AarhusandCopenhagen-aswellasfrom
abroad-andresearchersandstudentsfromSDU,whichhavebeenunderthesponsorshipofNTSMB:NetværkforTværvidenskabeligeStudierafMusikog
Betydning/Network for Cross-Disciplinary Studies of Music and Meaning www.ntsmb.dk or NNIMIPA: Nordic Network for the Integration of Music
Informatics,PerformanceandAesthetics www.nnimipa.org ortheSDU-IKVresearchinitiativeTheAestheticsofMusicandSound-currentlythroughits
researchprogramThePerformancesofEverydayLiving.
Wehopethatyouenjoytoday’sconcertandthatyouwillwatchhttps://www.facebook.com/groups/TheAestheticsofMusicandSound/fornews,
detailsandupdatesregardingupcomingconcertsandseminarsduringtherestof2015.
CynthiaM.GrundonbehalfofThePerformancesofEverydayLivingandTheAestheticsofMusicandSound
MarielouiseKloseonbehalfofM*U*S*I*C–MusicUnionforStudentInteractionandCreativity.
LeifJensenonbehalfofResQ-TekniskService
ALL ARE
WELCOME!
Audience participation in
the seminar via Adobe
Connect is also welcome.
Today -October29,2015 -youarealsoverywelcome toattenda seminargivenbyMortenHeideentitledA New Approach to
Performing Carl Nielsen’s Three Motets.ThisseminarwilltakeplaceinU67andispartoftheseriesTopics in the Aesthetics of
Music and Sound.Pleaseseehttp://soundmusicresearch.org/Topics_in_the_Aesthetics_of_Music_and_Sound_Fall_2015.pdf.
Mortenwrites:.. .InspiredbytheimpendingcelebrationsofNielsen'sanniversary,IdecidedtoprogramhisrarelyperformedThreeMotetsduringthe
secondofthetwoexaminationconcertsrequiredformymaster’sdegreeinchoralconductingfromStockholm’sRoyalCollegeofMusic.
I soonrealizedthat therewereissues,questionsandchallenges thatneededtobedealtwithbeyondthemusicalonesbefore Icouldembarkupon
interpreting themusic.My interest in thesematters sprang from a commentmade by theDanish composer and conductor BoHolten regarding the
discrepanciesbetweenNielsen'sinkfaircopyoftheThreeMotetsandthetwoeditionsnowavailable.BoHolten'sobjectionwasthatthechangeswhich
appearintheavailableeditionsarehelpfulneithertothemusicnortothedisseminationofNielsen'sonlysacredchoralsettingofLatintexts.Idecidedto
investigatetheextentoftheseallegeddiscrepancies.Itbecameclearthattherewasmorethanenoughsubjectmattertowarrantdevotingasignificantpart
ofmythesistothisinvestigation.
As partmy first examinationconcert, Imoreoverdecided toprogram threeRenaissancemotets byClemensnonPapa,Orlandodi Lasso andLuca
Marenzio.CarlNielsenhadcopiedallthreefromfacsimilesin1928ashepainstakinglybegantostudythepolyphonyofe.g.Palestrinaandseveralold
DutchmasterspriortowritinghisownThreeMotetsthefollowingyear.WishingtoinvestigatethesimilaritiesbetweentheseoldermotetsandNielsen's-
butalsotoreflectuponwhatapproachIshouldtakewhenconductingNielsen'sThreeMotets-Iwondered:
• shoulditbeaninterpretationbasedonwhatweknowtodayabouthowto“authentically”interpretthesacredpolyphonicchoralmusicofthe
Renaissance,
• shoulditbealate-RomanticinterpretationbasedontheknowledgeofhowchoirssangaroundthetimeNielsenwrotehisThreeMotets,or
• shouldIconsideranewthirdapproach?
Thegoalofmythesis–andofthisseminarpresentation–isthusthatofsheddinglightupontheseissuesandtoencouragechoralconductorstoprogram
Nielsen'swonderfulThreeMotetsmoreoftenthanhasbeenthecase.
Seminar Series
Topics in the Aesthetics of Music and Sound
MORTEN HEIDE ♦ klaver ♦
fejrer 150 året for den fynske komponist Carl Nielsens fødselsdag
Torsdag den 29. oktober 2015
kl. 12-13 i The Winter Garden Fri entré
Koncerten præsenteres
af:
Print: Print&Sign
SDU Odense
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