Wishing our beloved tenth music director the happiest of birthdays and many happy returns! Looking forward to another great season!

Riccardo Muti leading the Chicago Symphony Orchestra at the Auditorium Parco della Musica in Rome on September 28, 2007 (Todd Rosenberg photo)

Riccardo Muti leading the Chicago Symphony Orchestra at the Auditorium Parco della Musica in Rome on September 28, 2007 (Todd Rosenberg photo)

Moravec

The gifted Czech pianist Ivan Moravec, who appeared with the Chicago Symphony Orchestra on multiple occasions, died earlier today, July 27, 2015. He was 84.

Moravec’s appearances with the Orchestra were as follows:

March 27, 28 & 29, 1980
FRANCK Symphonic Variations for Piano and Orchestra
PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10
Garcia Navarro, conductor

January 7, 8, 9 & 12, 1988
MOZART Piano Concerto No. 25 in C Major, K. 503
Herbert Blomstedt, conductor

November 12, 13, 14 & 17, 1998
RAVEL Piano Concerto in G Major
Yaron Traub, conductor
(Traub replaced Riccardo Chailly, who canceled due to illness.)

caption info

March 27, 28 & 29, 1980

According to an obituary in Gramophone, Moravec “focused on the ‘central’ Romantic repertoire as well as music by Czech composers. Talking to Bryce Morrison for Gramophone‘s March 2004 issue, Moravec said: ‘My own recordings are a distillation of years of work and listening, of having my tape recorder always at hand. I would agree with [Arthur] Rubinstein who after recording would listen to the playback and say, “Now I have my piano lesson.” But unlike Rubinstein my conception of the relatively few works I have recorded has not radically altered, has remained loyal to my first thoughts and feelings. I have always taken my time and although I have learned and practiced a large repertoire (Ravel’s Gaspard, Rachmaninov, etc.) I have never felt ready to play most of it in public. . . . Life is so short and I have concentrated on what I feel I do best.'”

Ozawa headshot

Congratulations to Seiji Ozawa—the Ravinia Festival‘s first music director from 1964 until 1968—who will be a recipient of this year’s Kennedy Center Honors! Additional honorees, announced today, include American rock band the Eagles, singer-songwriter Carole King, filmmaker George Lucas, actress and singer Rita Moreno, and actress Cicely Tyson.

The gala event will be broadcast on CBS on December 29, 2015.

As a last-minute replacement for Georges Prêtre in July 1963, Seiji Ozawa was called upon to lead the Orchestra in two concerts at the Ravinia Festival. The twenty-seven-year-old conductor made his debut with the Chicago Symphony Orchestra on July 16, leading Beethoven’s Leonore Overture no. 3, Grieg’s Piano Concerto with Byron Janis, and Dvořák’s Ninth Symphony. Thomas Willis in the Chicago Tribune reported that Ozawa was “instantly in command when in possession of a baton and a musical idea. His conducting technique reminds you of his teacher, Herbert von Karajan, in that it lays the score in the lap of the orchestra with transparency of gesture and human communication, then commands acceptance.” On July 18, he conducted Rossini’s Overture to The Barber of Seville, Tchaikovsky’s Violin Concerto with Christian Ferras, Debussy’s Prelude to The Afternoon of a Faun, Takemitsu’s Requiem for Strings, and selections from Prokofiev’s Romeo and Juliet.

June 16, 1964

June 16, 1964

Only a month later it was announced that Ozawa would become the Ravinia Festival’s first music director and resident conductor beginning with the 1964 season, replacing Walter Hendl, who had served as artistic director since 1959. For his first concert as music director on June 16, 1964, Ozawa led the Orchestra in Beethoven’s Egmont Overture, Barber’s Piano Concerto with John Browning, and Berlioz’s Symphonie fantastique.

He served as music director of the Ravinia Festival through the 1968 season and as principal conductor for the 1969 season, returning regularly as a guest conductor. Ozawa most recently appeared there on July 14, 1985, leading Mozart’s Rondo for Piano and Orchestra in D major and Takemitsu’s riverrun with Peter Serkin, along with Tchaikovsky’s Pathétique Symphony.

Ozawa LP

Between 1965 and 1970—both at Orchestra Hall and in Medinah Temple—Ozawa and the Orchestra recorded a number of works for both Angel and RCA, including Bartók’s First and Third piano concertos and Schoenberg’s Piano Concerto with Peter Serkin, Beethoven’s Fifth Symphony, Lutosławski’s Concerto for Orchestra, Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, Rimsky-Korsakov’s Sheherazade with concertmaster Victor Aitay, Stravinsky’s The Rite of Spring, and Tchaikovsky’s Fifth Symphony, among numerous others.

Ozawa most recently appeared in Chicago at Orchestra Hall on February 9, 1996, leading the Boston Symphony Orchestra, the Chicago Symphony Chorus (prepared by Duain Wolfe), Heidi Grant Murphy, and Michelle DeYoung in Mahler’s Second Symphony; and on January 10, 2001, conducting Mahler’s Ninth Symphony with the Saito Kinen Orchestra.

Congratulations, Maestro Ozawa!

Jon Vickers

The extraordinary Canadian tenor Jon Vickers, who appeared with the Chicago Symphony Orchestra on only one occasion, died on Friday, July 10, 2015, in Ontario. He was 88.

For the opening subscription concerts of the sixty-eighth season on October 23 and 24, 1958, music director Fritz Reiner led the Orchestra, the Chicago Symphony Chorus—in its second season and prepared by its founder Margaret Hillis—and soloists Adele Addison, Regina Resnik, Vickers, and Jerome Hines in Beethoven’s Ninth Symphony. The concert opened with the composer’s Leonore Overture no. 3.

In the Chicago American, Roger Dettmer described Vickers as “a Canadian tenor on his vocal way to Valhalla.” And in the Chicago Tribune, Claudia Cassidy wrote that “Jon Vickers’ tenor was stronger than I remembered, as if Bayreuth had invigorated it” (he had made his debut at Wagner’s annual festival only a few months before, as Siegmund in Die Walküre).

October 23 & 24, 1958

October 23 & 24, 1958

Cassidy continued, praising that Reiner delivered, “a Beethoven Ninth Symphony so magnificent that it ranks high in the company of great performances, and may be the finest thing Mr. Reiner has done in and for Chicago. . . . That Mr. Reiner is a master conductor goes without saying, though it is a pleasure to say it. That he can be a great interpreter of essentially spiritual music is not so commonly understood. But no one who heard this Ninth could deny it, for there it was, fully known, fully projected, fully shared. He had what he has made a superb orchestra and what he has insisted on having to match it, a chorus of such quality its newness is hard to remember. Like the orchestra, that chorus can attack like the blow of a fist.

“Out of all this came a Ninth full of mesmeric detail, yet all of one thrusting design soaring to the great finale. The strangely fascinating cacophony of the first movement was crystalline in style, through full of moods and shadows in sound. The scherzo, never capricious, but volatile as ether, held the ear taut and, oddly, the heart. The slow movement sang in layers of floating sound, austere for all its tenderness. The ‘Ode to Joy’ burst out with the jubilation of the freed spirit. When it was over the audience burst into a roar—the kind of roar that means hundreds of people have been, quite without knowing it, holding their breath in pure excitement.”

October 1958 program biography for Jon Vickers

October 1958 program biography for Jon Vickers

Numerous obituaries have been posted online, including in the Chicago Tribune, The New York Times, Opera News, and The Guardian.

Gunther Schuller

Composer and conductor Gunther Schuller, a frequent guest and collaborator with the Chicago Symphony Orchestra over the course of the last fifty years, died yesterday in Boston. He was 89.

Since 1965, the Orchestra has performed numerous works by Schuller, both at Orchestra Hall and at the Ravinia Festival, including several world premieres. To celebrate the Orchestra’s seventy-fifth season, Schuller was commissioned to write his Gala Music; the composer led the world premiere at Orchestra Hall on January 20, 1966. At Ravinia, Seiji Ozawa led the world premiere of his Recitative and Rondo on July 16, 1967. Schuller himself led the Orchestra at Ravinia in the world premiere of his Suite from his opera The Visitation with the Ravinia Festival Jazz Ensemble on July 26, 1970. Sir Georg Solti led the world premiere of Schuller’s Concerto for Flute and Orchestra with CSO flute and piccolo Walfrid Kujala as soloist—commissioned for Kujala’s sixtieth birthday by his students and colleagues—on October 13, 1988.

As conductor with the Orchestra, Schuller led the world premiere of Easley Blackwood‘s Piano Concerto with the composer as soloist on July 26, 1970, at the Ravinia Festival. He also led the Orchestra in the U.S. premiere of Alexander Nemtin’s arrangement of Scriabin’s Universe, Part 1 of the Prefatory Action of Mysterium; Mary Sauer was the piano soloist and the Chicago Symphony Chorus was prepared by assistant director James Winfield.

A complete list of Gunther Schuller’s conducting appearances with the Chicago Symphony Orchestra is below (subscription concerts at Orchestra Hall, unless otherwise noted):

Sir Georg Solti and the composer acknowledge soloist Walfrid Kujala following the world premiere of Schuller's Concerto for Flute and Orchestra on October 13, 1988

Sir Georg Solti and the composer acknowledge soloist Walfrid Kujala following the world premiere of Schuller’s Concerto for Flute and Orchestra on October 13, 1988

July 10, 1965 (Ravinia Festial)
SCHUBERT/Webern German Dances
SCHUBERT Symphony No. 8 in B Minor, D. 759 (Unfinished)
SAINT SAËNS Cello Concerto No. 1 in A Minor, Op. 33
Frank Miller, cello
SCHULLER Seven Studies on Themes of Paul Klee

January 20, 21 & 22, 1966
BERLIOZ The Corsair Overture, Op. 21
RACHMANINOV Symphony No. 3 in A Minor, Op. 44
PROKOFIEV Concerto for Violin, No. 1 in D major, Op. 19
Edith Peinemann, violin
SCHULLER Gala Music (world premiere)

July 26, 1970 (Ravinia Festival)
WALTON Scapino Overture
SCHULLER Suite from The Visitation (world premiere)
Ravinia Festival Jazz Ensemble
BLACKWOOD Piano Concerto (world premiere)
Easley Blackwood, piano
SCRIABIN The Poem of Ecstasy

December 6, 7 & 8, 1979
SCHULLER Concerto for Double Bass and Chamber Orchestra
Joseph Guastafeste, bass
SHOSTAKOVICH Symphony No. 15 in A Major, Op. 141
SCRIABIN/Nemtin Universe, Part I of the Prefatory Action of Mysterium (U.S. premiere)
Mary Sauer, piano
Chicago Symphony Chorus
James Winfield, assistant director

For the CSO’s Marathon 12 fundraiser in 1987, a radio broadcast performance of Schuller’s Concerto for Double Bass and Chamber Orchestra, with principal bass Joseph Guastafeste as soloist and the composer conducting, was released on Soloists of the Orchestra, vol. 2. The Orchestra also recorded Schuller’s Spectra for Orchestra with James Levine conducting in 1990 for Deutsche Grammophon.

Gunther Schuller most recently appeared at Orchestra Hall on the Symphony Center Presents series on May 18, 2007, leading Epitaph, an eighty-fifth birthday anniversary tribute to Charles Mingus.

Several obituaries have been posted online in The New York Times, National Public Radio, and The Guardian, among numerous others.

On June 11, 2015, we celebrate the centennial of Arnold Jacobs, former longtime principal tuba of the Chicago Symphony Orchestra.

Arnold Jacobs

Jacobs was born in Philadelphia and was raised in California. The product of a musical family, he credited his mother, a keyboard artist, for his original inspiration in music and spent a good part of his youth progressing from bugle to trumpet to trombone and finally to tuba. Jacobs entered Philadelphia’s Curtis Institute of Music as a fifteen-year-old on scholarship, where he studied with Philip Donatelli and Fritz Reiner.

After his graduation from Curtis in 1936, Jacobs played two seasons in the Indianapolis Symphony Orchestra under Fabien Sevitsky. From 1939 to 1944 he was the tubist of the Pittsburgh Symphony Orchestra under Reiner. In 1941 Jacobs toured the country with Leopold Stokowski and the All-American Youth Orchestra.

At the invitation of music director Désiré Defauw, he joined the Chicago Symphony Orchestra in 1944 and remained a member until his retirement in 1988. He appeared as soloist with the Orchestra on numerous occasions, recording Vaughan Williams’s Tuba Concerto in 1977 for Deutsche Grammophon with Daniel Barenboim conducting (re-released in 2003 on The Chicago Principal). Jacobs also was a founding member of the Chicago Symphony Brass Quintet, and along with his CSO colleagues, was part of the famous 1968 recording of The Antiphonal Music of Gabrieli with members of the Philadelphia and Cleveland orchestras.

Sir Georg Solti congratulates Jacobs following his retirement ceremony on September 29, 1988

Sir Georg Solti congratulates Jacobs following his retirement ceremony on September 29, 1988

Internationally recognized as an educator, Jacobs taught tuba at Northwestern University for more than twenty years and gave master classes and lectured at clinics all over the world. He was especially known for his ability to motivate and inspire not only brass but also woodwind players and singers by teaching new breathing techniques, and many considered him the greatest tubist in the world.

Arnold Jacobs: The Legacy of a Master, a series of writings collected by M. Dee Stewart, was published in 1987 by The Instrumentalist Publishing Company, and Arnold Jacobs: Song and Wind, by his assistant Brian Frederiksen, was published in 1996 by WindSong Press.

Jacobs’s honors included the highest award from the second International Brass Congress in 1984 and honorary doctor of music degrees from VanderCook College of Music and DePaul University. In 1994 the Chicago Federation of Musicians awarded him for Lifetime Achievement at the first Living Art of Music Award Ceremony. Mayor Richard M. Daley proclaimed June 25, 1995, “Arnold Jacobs Day in Chicago” as part of the celebration of his eightieth birthday. Along with Gizella, his wife of over sixty years, he was an active member of the Chicago Symphony Orchestra Alumni Association. Jacobs last appeared onstage at Orchestra Hall on June 7, 1998, appearing with members of the Chicago Symphony Orchestra and guests, at a special concert celebrating the fiftieth anniversary of principal trumpet Adolph Herseth.

Jacobs died on October 7, 1998, at the age of 83, and on December 17, a special memorial program was given at Orchestra Hall. Performers included current and former members of the Chicago Symphony Orchestra along with brass players from the Lyric Opera of Chicago Orchestra, Northwestern University, DePaul University, Roosevelt University, and the VanderCook College of Music, all led by Daniel Barenboim.

In May 2001, the Chicago Symphony Orchestra Association announced that its principal tuba chair had been generously endowed in honor of Jacobs. The Arnold Jacobs Chair, endowed by Christine Querfeld, currently is occupied by Gene Pokorny.

Hindemith with viola

During the Chicago Symphony Orchestra’s 2012-13 season, anonymous donors endowed in perpetuity the principal viola chair but requested some time to decide on how they wanted the chair to be named. After quite a bit of thought, the donors have decided upon “The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor.”

On March 3 and 4, 1938, Paul Hindemith debuted with the Chicago Symphony Orchestra, appearing as composer, conductor, and viola soloist. The concert opened with associate conductor Hans Lange leading Mozart’s Symphony no. 39 followed by Hindemith’s Der Schwanendreher (subtitled Concerto on Old Folk Melodies) with the composer as soloist. After intermission, Lange returned to the podium for Hindemith’s Chamber Music no. 1, followed by the composer leading the U.S. premiere of his Symphonic Dances.

Hindemith's March 1938 program biography

Hindemith’s March 1938 program biography

In the Journal of Commerce, Claudia Cassidy described Hindemith’s Chamber Music no. 1 as “brilliant, witty, and spectacularly scored. Mr. Lange conducted and the orchestra turned in a glittering job, particularly in the introduction to the finale which has that kinetic energy at a boil.” She described Der Schwandendreher as having “no compassion for the poor viola player, taking for granted that he can handle the instrument as Mr. Hindemith does, which is nothing short of amazing.”

Hindemith had conducted the first performance of the Symphonic Dances only three months earlier, on December 3, 1937, in London. Eugene Stinson in the Chicago Daily News described the work as having “more unity, and it seems to me there is more thoughtfulness, in the Symphonic Dances than in almost all the other music Hindemith’s Chicago knows. At a first hearing it struck me as one of the most impressive and most affecting contemporary scores I can recall.”

Hindemith’s complete performance history with the Chicago Symphony Orchestra is as follows:

March 3 and 4, 1938

March 3 and 4, 1938

March 3 and 5, 1938, Orchestra Hall
HINDEMITH Der Schwanendreher
Paul Hindemith, viola
Hans Lange, conductor
HINDEMITH Symphonic Dances
Paul Hindemith, conductor

July 25, 1961, Ravinia Festival
BRUCKNER Symphony No. 4 in E-flat Major
CHERUBINI Overture to Les Abencerages
HINDEMITH Concert Music for Strings and Brass, Op. 50
Paul Hindemith, conductor

July 27, 1961, Ravinia Festival
HINDEMITH Pittsburgh Symphony
MENDELSSOHN Fingal’s Cave Overture, Op. 26
SCHUBERT Symphony in C Major, D. 944
Paul Hindemith, conductor

July 29, 1961, Ravinia Festival
BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37
Gary Graffman, piano
HINDEMITH Concerto for Orchestra, Op. 38
SCHUMANN Symphony No. 4 in D Minor, Op. 120
Paul Hindemith, conductor

March 28 and 29, 1963, Orchestra Hall
April 1, 1963, Pabst Theater, Milwaukee
BRAHMS Academic Festival Overture, Op. 80
HINDEMITH Concert Music for Strings and Brass, Op. 50
BRUCKNER Symphony No. 7 in E Major
Paul Hindemith, conductor

April 4 and 5, 1963, Orchestra Hall
SCHUMANN Manfred Overture, Op. 115
REGER Variations and Fugue on a Theme of Beethoven, Op. 86
WAGNER Siegfried Idyll
HINDEMITH Sinfonietta in E
Paul Hindemith, conductor

April 6, 1963, Orchestra Hall
SCHUMANN Manfred Overture, Op. 115
REGER Variations and Fugue on a Theme of Beethoven, Op. 86
BEETHOVEN Grosse Fuge in B flat Major, Op. 133
HINDEMITH Nobilissima visione
Paul Hindemith, conductor

April 7, 1963, Orchestra Hall (television concert)
HINDEMITH Concert Music for Strings and Brass, Op. 50
BRUCKNER Allegro moderato (first movement) from Symphony No. 7 in E Major
BRAHMS Academic Festival Overture, Op. 80
Originally broadcast on WGN and currently available on a VAI DVD release.

_______________________

Charles Pikler, principal viola (Todd Rosenberg photo)

Charles Pikler, principal viola (Todd Rosenberg photo)

The principal viola chair currently is held by Charles Pikler, who joined the Orchestra as a violinist in 1978; and in 1986, Sir Georg Solti named Pikler principal viola.

Frederica von Stade

Wishing a very happy seventieth birthday to the wonderful mezzo-soprano, Frederica von Stade (recently in Chicago for performances of Ricky Ian Gordon‘s A Coffin in Egypt with Chicago Opera Theater)!

Von Stade appeared with the Chicago Symphony Orchestra on several occasions, at the Ravinia Festival and in Carnegie Hall.

May 1 & 2, 1981, Carnegie Hall
BERLIOZ The Damnation of Faust
Kenneth Riegel, tenor (May 1)
Peyo Garazzi, tenor (May 2)
José van Dam, baritone
Malcolm King, bass
Chicago Symphony Chorus
Margaret Hillis, director
Glen Ellyn Children’s Chorus
Doreen Rao, director
Sir Georg Solti, conductor

July 9, 1988, Ravinia Festival
BERLIOZ Romeo and Juliet
Philip Creech, tenor
John Cheek, bass
Chicago Symphony Chorus
Margaret Hillis, director
James Levine, conductor

July 14, 1996
MOZART Ch’io mi scordi di te? . . . Non temer, amato bene (with Claude Frank, piano)
MAHLER Songs from Rückert Lieder and Des Knaben Wunderhorn
Semyon Bychkov, conductor

August 14, 1999
MOZART “Parto, parto, ma tu, ben mio” from La clemenza di Tito,
LEHÁR “Vilja” and “Lippen schweigen” (with John Aler, tenor) from The Merry Widow
Christoph Eschenbach, conductor

July 8, 2000
Selections from:
COPLAND Old American Songs
KERN Show Boat
OFFENBACH The Grand Duchess of Gerolstein
MOZART Don Giovanni
RODGERS Oklahoma! and South Pacific
SONDHEIM A Little Night Music
with Samuel Ramey, bass
Miguel Harth-Bedoya, conductor

August 5 & 7, 2010
MOZART Così fan tutte
Ana María Martínez, soprano
Ruxandra Donose, mezzo-soprano
Saimir Pirgu, tenor
Rodion Pogossov, baritone
Richard Stilwell, bass-baritone
Chicago Symphony Chorus
Duain Wolfe, director
James Conlon, conductor

Berlioz album cover

The 1981 interpretation of Berlioz’s The Damnation of Faust was recorded by London in Medinah Temple on May 4, 5, 6, and 7, 1981. James Mallinson was the producer, and James Lock and Simon Eadon were sound engineers. The recording won the 1982 Grammy Award for Best Choral Performance (other than opera) from the National Academy of Recording Arts and Sciences.

Martinon RCA set

RCA Red Seal Records (now a division of Sony Masterworks) recently released the complete Chicago Symphony Orchestra recordings—some available for the first time on CD—led by our seventh music director Jean Martinon. (The set has not yet been released in the United States but is available from several European and Japanese distributors.)

“It’s always a very delicate and perilous business for a conductor to take over a renowned orchestra that has just passed through a glorious and legendary era under a charismatic predecessor,” writes Christoph Schlüren in the accompanying booklet, referring to Martinon succeeding Fritz Reiner. “Martinon was not blessed by fate in Chicago. The problem was not that the orchestra failed to appreciate him, nor that the ensemble’s outstanding level dropped under his leadership. The surviving recordings are no less brilliant than Reiner’s. . . . In any event, the standard view that the Chicago Symphony Orchestra did not really get going until Martinon gave way to Georg Solti is true only with regard to its commercial success and resultant worldwide fame, not to the perfection of its playing.”

Clark Brody, Williard Elliot, Donald Peck, Dale Clevenger, Jean Martinon, Ray Still, Adolph  Herseth, Donald Koss, Jay Friedman -

CSO principals Clark Brody (clarinet), Williard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn), Martinon, Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone) backstage in February 1966 before a performance of Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra

The set includes a number of works, most notably Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra (featuring several CSO principal players); Mennin’s Symphony no. 7; Varèse’s Arcana; and Weber’s Clarinet Concertos nos. 1 and 2 with Benny Goodman. Additionally, two very special works are heard: an arrangement of Paganini’s Moto perpetuo as arranged by the CSO’s second music director Frederick Stock (according to Schlüren, “wittily peppered with fragments from the finale of [Beethoven’s] Eroica“) as well as Martinon’s own Symphony no. 4 (Altitudes), commissioned for the Orchestra’s seventy-fifth season. And similar to the previously issued Reiner set, the booklet includes numerous images from the collections of the Rosenthal Archives.

Welles announcement

On May 6, 2015, we celebrate the 100th anniversary of the birth of Orson Welles—actor, writer, director, and producer in theatre, radio, and film—who appeared at Orchestra Hall on one occasion on January 9, 1939. He gave a special lecture entitled “As I See the Stage,” presented under the auspices of a Northwestern University lecture series.

At the time of his appearance in Chicago, Welles was known primarily as the director and narrator of the radio dramatization of The War of the Worlds, an adaptation of H.G. Wells‘s novel. The show had been broadcast on October 30, 1938 (local coverage of the aftermath of the event is here and here), just a few short months before his Chicago appearance.

“As I see the stage,” Welles told the audience at Orchestra Hall, according to an account in the Chicago Herald & Examiner, “it has been supplanted by the movies and the radio. There is no place for it in American life.”

the vault

Theodore Thomas

csoarchives twitter feed

chicagosymphony twitter feed

ChicagoSymphony Instagram

#TBT Music director Frederick Stock (front and center, with his hat in his lap) and members of the Orchestra at Willow Grove Park in Pennsylvania in August 1908. #ThrowbackThursday #RosenthalArchives #throwback

disclaimer

The opinions expressed here are mine and do not necessarily reflect those of my employer.

visitors

  • 161,280 hits
Follow

Get every new post delivered to your Inbox.

Join 1,052 other followers

%d bloggers like this: