Krisna portfolio2012

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Krisna portfolio2012

  1. 1. Krisna Putri Mamesah Portfolio 2012
  2. 2. SCORES HOM E PROG RAM NOTE S & B IO DOWNLOAD SCOR E S VIEW SCOR E S KETCH E S DECEMBER RAINS VI D EO CLARINET TRIO EXTRAS HOM E ALSO ON NAVONA R ECOR D S SUMMER CIRCLE PROG RAM NOTE S & B IO NAVONA R ECOR D S SCOR E S SCOR E S KETCH E S VI D EO EXTRAS ALSO ON NAVONA R ECOR D S MARTIN SCHLUMPF NAVONA R ECOR D S SUMMER CIRCLE EXTRAS HOM E PROG RAM NOTE S & B IO SCOR E S SCOR E S KETCH E S Wa l l p a p e r R i n g Tones VI D EO RING 1 EXTRAS ALSO ON NAVONA R ECOR D S RING 2 NAVONA STOR E NAVONA R ECOR DS WWW.MARTI NSCH LU M PF.CH NAVONA R ECOR D S 1024 x 768 | 1920 x 1200 click or drag the page corners to view booklet This CD presents what is surely my central piece of chamber music, the Clarinet Let’s take an example from the opening of the piece. The music begins in the top staff (right Trio of 1997, accompanied by the piano piece December Rains (composed four hand) with a catchy figure that is then repeated several times. In metrical terms, the figure’s years earlier) and the string quartet Summer Circle, which originated in 2007 as cells are long – long – long – short, or, as described above, 3 + 3 + 3 + 2 units. This straight- an arrangement of my saxophone quartet Winter Circle. forward situation receives an element of tension from the lower staff (left hand), which, in an entirely different rhythm, presents a freely written bass line that stands in a constantly These pieces have several things in common: strikingly vibrant and varied changing relation to the ostinato upper voice. rhythms, colorful harmonies, melodies built from clear-cut motifs, and a formal design that unites all these elements with great powers of variation into a story As the overall form of Part A is laid out as an arch, the opening right-hand figure recurs toward the end of the piece. Initially it appears in a lower register with a bass that is likewise that is intended to goad the listener into creating, in his mind, a “theatre” filled composed as an ostinato. This time, however, it appears in two-bar cycles, in that the motif, with vivid images. though actually filling a single bar, enters first on the off-beat and then, in the next bar, on the on-beat. In other words, the bass plays on the downbeat one time and immediately after DECEMBER RAINS the downbeat the next time. By employing harmonic modulation, metrically regrouping the Karolina Rojahn, piano three-unit and two-unit cells, and manipulating the tonal space to the original register in the right hand and to the lowermost register in the left, the opening situation is continuously This relatively short piano piece of 1993 was commissioned by Zurich University of the Arts varied up to the very end of the piece. for an in-house piano competition. Equally striking is the unisono cadenza, a cascade of irregularly pulsing fast notes that It need hardly be said that such a combination of factors means that the composer has to are stretched or compressed at the beginning by means of several changes of tempo. write music with an ample amount of virtuosity. In Part A of the piece, I met this demand in Eventually the entire melody gradually descends from the high register and, in the end, crashes relatively “conventional” fashion — meaning that I avoided unusual performance techniques, dramatically in a large crescendo. not that the music itself is “conventional.” It is primarily my use of rhythm that makes the music independent and fresh. The course of the music might be visualized as a heavy rainstorm pouring down on a roof: first it gathers force, then it grows louder, and finally it recedes. (Other passages may, Most of the passages in Part A have irregular metrical preconditions. This means, to put of course, evoke similar associations.) A possible lead to the “rain” metaphor is given in Photos of “Musighüsli” – Martin’s garden Martin stands in front of the The John F. Kennedy Center for the Performing Arts, it simply, that the player must often distinguish between long and short rhythmic cells in the title, which became December Rains simply because the initial sketches originated in house at his home in Switzerland, where he Washington DC, where rehersals for Summer Circle took place irregular succession, where “long” refers to three-unit cells and “short” to two-unit cells composes his works. December 1992. www.martinschlumpf.ch measured against a relatively fast regular pulse. 3 11 2 10 If the cadenza can only be mastered with great technical virtuosity, the concluding Other sections reveal irregular meters and time signatures, culminating in a section of “December Song” (Part B) calls for completely different qualities of performance, first and unisono (Part E) in which another level of variation enters the scene, with tempo leaps in foremost those of a “singing” piano. Indeed, the object is to have the piano convey, to the ratios of 3:2 / 4:3 / 5:4 / 6:5. When combined with ostinato phrases and offbeat accents, greatest possible extent, the impression that someone is actually singing. And this on an the result is a rhythmic universe in which the temporal events are largely governed by instrument whose mechanism (striking the strings with hammers and allowing the sound proportional ratios. to decay) is as remote as possible from the human voice, where notes are sustained and modulated in many different ways. But the truly astonishing thing is that the impression of In a slightly different context, the same also applies to the piece’s architecture. The large-scale “sung” melody really can arise in our minds if the pianist employs subtle articulation and design is conceived on the basis of the Fibonacci series (an approximation of the Golden intelligent pedaling. Ratio), with a large number of subdivisions and a total duration of 1597 seconds. The proportions of the Golden Ratio interlock on several levels, creating a labyrinth of initially Moreover, and very much unlike the Part A, it is important here to use a form of agogics that empty “time boxes” that I successively “fill” with rhythmic-metric, melodic, harmonic, strikes an ideal and very subtle balance between delicately tightening and then relaxing the conceptual, articulatory, dynamic and spatial ideas, at the same time interweaving different tempo curve. types of analogy or reprise. CLARINET TRIO Just before its midpoint, the piece begins to approach a passage from the first movement of Rane Moore, clarinet; Rafael Popper-Kaiser, cello; Cory Smythe, piano Brahms’ Clarinet Trio. The music metamorphoses and comes surprisingly close to Brahms (in part C), only to recede with scraps of this bygone tonal language ... Clarinet Trio forms the first chapter in my Book of Proportions. Its main concern is to treat rhythm with maximum variety and diversity while remaining rigorous and logical. The instru- Sometime around 1970, while studying the clarinet, I played in the Brahms Trio at a school mental parts often run almost independently and proceed on different temporal planes, yet forum. Before long I had changed my main instrument to the piano; before then, up to my without “losing contact” with each other. high-school diploma in 1966, I had devoted myself to the cello. In other words, I composed this piece for “my” instruments. Today I play different instruments altogether. A key role is sometimes assigned to the piano. For example (part A), the left and right hands may play in a temporal ratio of 2:3, after which the clarinet and cello each “sit” on one of Clarinet Trio is dedicated to my wife Antoinette – and anyone who’s got rhythm. Session Producer Charlie Barnett reviews the score for Summer Circle with Martin Martin clarifies his vision with Karolina Rojahn, pianist for December Rains the voices (hands) and create further subdivisions, leading to initial ratios of 9:4 and 9:8, respectively. 4 5 12 13 It is both a partner as well as an adversary and commentator. It is a partner in that it shares Martin Schlumpf (b. 1947) was born in the Swiss town of the metrical structure of the motivic kernel with the other instruments. It is an adversary in Aarau, where he was raised and educated through his high that, though it always plays synchronously with one of the other instruments, it constantly school graduation in 1966. During these years, he played double bass in various jazz groups, along with studying changes partners. Finally, it is a commentator in the sense that its contrary melodic motion classical cello. Schlumpf also began writing essays on plunges the tonally constant music of the upper voices into changing harmonic hues. composition during this time, beginning with his discovery of the music of Austrian composer Anton Webern. But it is not only in Part A that the motivic kernel plays a role with its minimalist antics. Expanded with counter-figures, transposed into new harmonic areas, diminuted and In 1968, Schlumpf moved to Zurich to study clarinet, piano, augmented in tempo, and partly transformed into triplets, the motivic kernel steps into the conducting, theory and composition. He received a teaching limelight over and over again in the manner of a rondo – in latter half of Part B as well as in certificate in piano with Warren Thew in 1971, and Parts D and F. completed his degree in music theory with Rudolf Kelter- born in 1972. Further studies in composition took him to In this way Winter Circle took on a new and lighter form with a partly new underlying Boris Blacher in Berlin in 1974. Since 1977 Schlumpf has been professor of music theory at the Zurich University of the Arts, where he has also taught group improvisation since 1991. harmonic conception, a different use of registers and articulation, and an expanded polymet- ric conception in certain passages. The result is Summer Circle, whose title reflects not only Until 1980, Schlumpf was mainly active as a composer of contemporary art music, winning the date of its première but also its brighter and warmer aura. awards at the Zurich Competition (first prize, 1972 and 1979) and the Tonhalle Competi- tion (1975), among others. Beginning in 1980 he returned to improvised music and started In its temporal progress, the piece forms a circle in that the music heard at the beginning playing in a number of his own groups — at first as a bass player in Trio 80, then as a bass recurs in retrograde at the end. In symbolic terms, it thus traverses the human life-cycle: clarinetist in his eleven-piece band Swiss Fusion 84, as well as the sextet Die Vögel, and beginning with the tentative blossoming of life, proceeding through savage outbursts of especially Bermuda Viereck. Schlumpf has also taken part in other projects, including John strength, periods of consolidation, contemplation, and reflection, and various everyday Tchicai and Cadavre Exquis Orchestras, film and theater music projects, and cabarets. influences from the outside, the piece finally comes full circle in a slow farewell. But a main focus of Summer Circle, interspersed with “fractures” and digressions, is the element of flux, Since the late 1980s, Schlumpf has been widely active in the borderlands between improvi- sation and composition. He has placed increasing emphasis on his work as a composer in a the primal force of life, here captured in the piece’s minimalist motivic kernel, which recurs new post-modern style. Beginning in 1999, Schlumpf’s interests increasingly incorporated over and over again in ever-new variants. the computer in his compositions with the aim of obtaining a larger range of timbres and complex polymetrical structures. 8 9ECD and CD BookletSummer Circle, Martin SchlumpfInternship work with PARMA Recordings, Feb - May 2012
  3. 3. Tray/Disc placement is approximate .312” 5.547” 5.547” North Hampton NH 03862 223 Lafayette Road www.ravellorecords.com info@ravellorecords.com extended liner notes, and more PARMA Recordings company Place this product in your computer to view full scores, Ravello Records is a Initial Editing & Mixing Vlacheslav Hdanov Engineer Andrij Mokrytsky PR Coordinator Rory Cooper Producer Alexander Hornostal A&R Jon McCormack Recorded in 2007 at the National Radio Studio of Kiev, Ukraine Art and Production Director Brett Picknell Mastering, Editing, Mixing Andy Happel Product Manager Jeff LeRoy Robert Ian Winstin, conductor Label Executive Producer Bob Lord Kiev Philharmonic Orchestra and King Singers of Kiev 4.922” Mary Ann Joyce-Walter lives of the children incarcerated in Terezin (Theresianstadt). Kohn and Ruth Davis for their impeccable, strong and important research on the suggestions over many years have been invaluable, and finally, to Nancy Petschek- recording. I owe special thanks to Binnette Lipper whose support and musical Walter, for his encouragement from the earliest stages of this composition to its final compose CANTATA FOR THE CHILDREN OF TEREZIN, and to my husband, Frank I am grateful to Manhattanville College for granting me a sabbatical leave in order to never again. us, along with the hope that acts of horror against the young and innocent throughout the world will happen work was composed with the intention of evoking compassion for the most innocent and vulnerable among The CANTATA FOR THE CHILDREN OF TEREZIN is dedicated to all children who suffer and die too soon. The CANTATA FOR THE CHILDREN OF TEREZIN MARY ANN JOYCE-WALTER CANTATA FOR THE CHILDREN OF TEREZIN Oxnaya Oleskaya, soprano Place this product in your computer to 1 TRANSPORTS 5:30 A.M. .......................................................... 3:06 view full scores, extended liner notes, 2 HOME ....................................................................................... 2:58 and more 3 BIRDSONG ............................................................................... 2:48 4 A LITTLE MOUSE ..................................................................... 1:35 5 A LITTLE GARDEN ................................................................... 3:41 6 A LITTLE SONG WITHOUT WORDS ...................................... 3:56 7 THE ROSE ................................................................................. 5:58 4.938” 8 EVENING TRANSPORTS ......................................................... 3:41 9 SOMEDAY ................................................................................. 9:38 10 ACELDAMA ..................................................................... 13:17 Kiev Philharmonic Orchestra and King Singers of Kiev RR7845 THIS PRODUCT ©2012 RAVELLO RECORDS LLC. ALL RIGHTS RESERVED. THE RAVELLO IMPRINT IS A REGISTERED TRADEMARK OF PARMA RECORDINGS LLC. MARY ANN JOYCE-WALTER ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF APPLICABLE LAWS. WWW.RAVELLORECORDS.COM BLEED Spine .25” .75” 5.594” Glue Tab Outside Back Cover Outside Front Cover 5.594” Item #D1003 Title Digipak®-Style Packaging - 4 Panel - Tube Pocket on Left - Tray on Right Flat Size 10.61”x11.406” - Folded Size 5.594”x.25”x4.938” Bleed 3/16“ (.188” )All Around - Size with Bleed 10.235”x11.781”CD CoverCantata For The Children Of Terezin, Mary Ann Joyce-WalterInternship work with PARMA Recordings, Feb - May 2012
  4. 4. RAVELLO RECORDS PRESENTS THE CAPSTONE COLLECTION BAKSA Flute Sonata No. 1.......................................... 16:04 1 Allegro; Cadenza I.................................................................................... 6:59 2 Adagio; Cadenza II................................................................................... 4:55 BERT 3 Allegro....................................................................................................... 4:10 Woodwind Quintet No. 1................................16:34 RO 4 Quiet fast................................................................................................... 5:15 5 Tranquil, not too slow............................................................................... 5:51 6 Not too fast, with humor.......................................................................... 5:28 O.1 TET N Quartet For Piano and Winds........................ 23:16 D QUIN D WINDS 7 Moderato; Allegro.................................................................................. 10:04 IN 8 Moderato...................................................................................................6:06 NO.1,WPIANO AN QUINTET 9 Allegro....................................................................................................... 6:47 NATA TE SO ARTET FOR THE VIRTUOS IM, PIANO I FLU QU K The Virtuosi Quintet AEREE Bradley Garner, Flute; David Kossoff, Oboe; Larry Tietze, Clarinet; James Jeter, Bassoon; Milton Phibbs, Horn with AeRee Kim, Piano In 2008 PARMA Recordings acquired Capstone Records, the highly respected New York-based classical label founded by composer Richard Brooks in 1986, with the intent of shepherding the company and its music into the digital era. This product, originally released on Capstone and now presented by PARMA’s Ravello Records imprint, is one of a series of re-releases from the catalog called THE CAPSTONE COLLECTION. For more music in this series, please visit www.ravellorecords.com. ©2012 RAVELLO RECORDS LLC. ALL RIGHTS RESERVED. THE RAVELLO IMPRINT IS A REGISTERED TRADEMARK OF PARMA RECORDINGS LLC. UNAUTHORIZED DUPLICATION IS A VIOLATION OF APPLICABLE LAWS. RR7831 RAVELLO RECORDS PRESENTS RAVELLO RECORDS PRESENTS RAVELLO RECORDS PRESENTS THE CAPSTONE COLLECTION THE CAPSTONE COLLECTION THE CAPSTONE COLLECTION J E S S I CA K R AS H UCTED PIANO VIEW OBSTR RKS FOR SOLO NEW W O AL L EN BR ING S A CONCERT OF M USIC PAUL KIRBY FOUR SONA TAS RAVELLO RECORDS PRESENTS RAVELLO RECORDS PRESENTS RAVELLO RECORDS PRESENTS THE CAPSTONE COLLECTION THE CAPSTONE COLLECTION THE CAPSTONE COLLECTION WNSEND SONANT E DGES CULTURE SAMPLES R RY TO RE UTE PE HAMIL TON OR FL ENCE BRUCE N HANEY ERTI F HESTRA F SIL JASO CONC C ION O D ST ERFIEL N OR GGEST PAUL O GARBER CUSSIO ORMICK PERCUSSION GROUP NO SU J. RYAN WIT H PER CC THE M E AND K, FLUT ORMIC M MCC WITH KICD CoversCapstone Re-releasedInternship work with PARMA Recordings, Feb - May 2012
  5. 5. Holiday ART Sale CHESTER COLLEGE of New England Wadleigh Library Gallery Thursday, December 9            4-7 pm Refreshment and holiday cheer providedHoliday Art Sale Poster at Chester CollegeNovember 2010
  6. 6. November T F 1 2 8 9 15 16 22 29 23 30 S 3 10 17 24 February September S M T 4 5 6 11 12 13 18 19 20 25 26 27 W 7 14 21 28 T 1 8 15 22 29 W 2 9 16 23 30 T 3 10 17 24 F 4 11 18 25 S 5 12 19 26 T 1 8 15 22 S 6 13 20 27 W 2 9 16 23 M 7 14 21 28 T 3 10 17 24 F 4 11 18 25 S 5 12 19 26 S 6 13 20 27 M 7 14 21 28 March October T 1 8 15 22 29 January W 2 9 16 23 30 T 3 10 17 24 F 4 11 18 25 S 5 12 19 26 S 6 13 20 27 July M 7 14 21 28 S 1 8 15 22 29 S 2 9 16 23 30 M 3 10 17 24 31 T 4 11 18 25 F S 1 2 8 9 15 16 22 29 23 30 S S 1 2 8 9 15 16 22 23 29 30 June W T F 5 6 7 12 13 14 19 20 21 26 27 28 S 3 10 17 24 31 M 3 10 17 24 31 M 4 11 18 25 T 4 11 18 25 T 5 12 19 26 W 5 12 19 26 W 6 13 20 27 T 6 13 20 27 T 7 14 21 28 F 7 14 21 28 W 1 8 15 22 29 T 2 9 16 23 30 F 3 10 17 24 31 S 4 11 18 25 S 5 12 19 26 M 6 13 20 27 T 7 14 21 28 May December M 1 8 15 22 29 April T 2 9 16 23 30 W 3 10 17 24 31 S 1 8 15 22 29 T 4 11 18 25 M 2 9 16 23 30 F 5 12 19 26 T 3 10 17 24 31 S 6 13 20 27 W 4 11 18 25 S 7 14 21 28 T 5 12 19 26 F 6 13 20 27 T 1 8 15 22 29 S 7 14 21 28 F 2 9 16 23 30 August F 1 8 15 22 29 S 3 10 17 24 31 S 2 9 16 23 30 S 4 11 18 25 S 3 10 17 24 M 5 12 19 26 M 4 11 18 25 T 6 13 20 27 T 5 12 19 26 W 7 14 21 28 W 6 13 20 27 T 7 14 21 28 January S 1 8 15 22 29 S 2 9 16 23 30 M 3 10 17 24 31 T 4 11 18 25 W 5 12 19 26 T 6 13 20 27 F 7 14 21 28Tangram Calendar of 2011Desember 2010
  7. 7. Helvetica PosterNovember 2011
  8. 8. French Bistro Coffees & Hot Drinks Coffee 1.5 Tea 2 Expresso 2 Double Expresso 2.75 made in marseille Americano 2 Cappucino 2.85 Café au lait 3 Homemade hot cocoa 3.25 Mochaccino 3.5 Desserts $6 Apple tart tatin Orange charlotte Lavender crème brulée Warm, soft chocolate cake Breakfast Lunch Brunch Dinner open for 7 days a week BOUILLABAISSE 4 person minimum, 1 day ahead Traditional dish served in 2 courses: Soup with croutons "Rouille” and cheese Fish (5 types) Served with potatoes 530 Driggs Ave, corner of N8th Street Williamsbusrg, Brooklyn, NY 11211 www.fadany.com 718.388.6607 APPETIZERS ENTREES Moules 6 Coq au vin 15 Mussels of the day Chicken stew cooked in red wine sauce served with boiled potatoes. Boudin aux pommes 6.5 Pore 15 Pan seared blood sausage with apple Pork chop with a tomato “concasse” sauce. Poireaux 6.5 Gigot d’agneau 16 Warm leeks in "gribiche" sauce Lamb steak served with a rosemary sauce and a vegetable gratin. Asperges 6.95 Steak fries 17 white asparagus in truffle oil Free range 12oz grilled ribe eye steak served with french fries. Escargots 6.95 Aioli traditionnel 15 Snails "flambe" with pastis and spinach Steamed codfish served with “aioli” sauce and a selection of steamed vegetables. Calamars 6.95 Saumon 15 Sautéed calamari with potato Roasted salmon served with a tomato couli sautéed fennel and polenta. Tartare de thon 6.95 Mérou 16 tuna and ginger tartar Sautéed grouper served with a saffron sauce and a vegetable “julienne”. Feuillete 7.5 Lotte 17 Camembert and figs puff pastry Roasted monk fish served with an old fashion mustard sauce and a lentil stew. Napoléon de thon 17 Grilled tuna steak served with an olive and red pepper relish and grilled vegetable. SALAD & PLATES Bourride 16 Fisherman’s stew. Endives 8.5 Endives and blue cheese salad SOUPS Chêvres chauds 8.5 Goat cheese on toast over frisée Soup of the day 4.5 Niçoise 12 Fish soup 5.5 with fresh grilled tuna Onion soup 5.5 Périgourdine 11.5 Duck gizzards confit, duck breast and duck pate salad Provençale 9.5 SIDES $4 Selection of provençale specialities Charcuterie 14 Raviolis Frais 11 French Fries Selection of cold cut meats Fresh spinach ravioli with a Vegetable gratin Fromages et fruits 14 creamy mushroom sauce Grilled vegetable Selection of cheese (5) with fruit Végétarien du jour 10.5 Veggie of the day Sautéed spinach Moules 11.5 Ratatouille Mussels of the day Mixed Greens WHITE WINE RED WINE Alabrino $7/$28 Tempranillo $7/$28 Licia Riax Baixas. Spain,2006 Mesta, Bodega Fontana. Spain, 2006 WINE & CHAMPAGNE Viognier $7/$28 Merlot $7/$28 Alamos, Bodega Catena lapata. Argentina,2007 Alamos, Bodega Catena lapata. Argentina,2007 Riesling $7/$28 Malbec $7/$28 Dona Isadora, Cousin Macul. Chile, 2005 Punto Final, Renacer, Mendoza. Argentina 2006 Chard/Viognier $6/$24 Cabernet $6/$24 Santa Isabel, Mendosa. Argentina, 2006 Santa Isabel, Mendosa. Argentina, 2006 Chardonnay $7/$28 Cabernet $9/$36 Vinedos TerraNoble, Maule Valley. Chille, 2006 Cousino Macul, Maipo Valley. Chille, 2005 Chardonnay $7/$28 Cabernet $10/$40 Alamos, Bodega Catena Lapata. Argentina,2006 Catena, Bodega Catena Lapata. Argentina,2004 Chardonnay $7/$28 Catena, Bodega Catena Lapata. Argentina, 2006 CHAMPAGNE Veuve Clicquot Crut $12/$75 NV France, Complex nose of apple citrus and caramel. Veuve De Vernay Brut $6/$36 NV France, Simple sparkle witn on enticing array of nectarine. Taittinger “La Francaise” Brut 1/2 Btl $32 NV France, Gold colors with powerful apple and pears aromaFADA (a french bistro) MenuDesember 2011
  9. 9. KRISNA MAMESAH DESIGN KRISNA MAMESAH DESIGN Graphic Designer kmdesign.com 90 Edward J Roy Drive Apt.201 Manchester, NH 03104 P. 603-5125951 F. 603-5125952 KRISNA MAMESAH DESIGN 90 Edward J Roy Drive Apt.201 Manchester, NH 03104 P. 603-5125951 F. 603-5125952 kmamesah@gmail.com kmdesign.com KRISNA MAMESAH DESIGN 90 Edward J Roy Drive Apt.201 Manchester, NH 03104 P. 603-5125951 F. 603-5125952Identity DesignOctober 2011
  10. 10. “A Hole in the World. On Tuesday morning, a piece was torn out of our world. A patch of blue sky that should have not been opened up in the New York skyline. The heaven were raining human beings. Our world was changed forever. ” - Jonathan SchellHistorical Event PosterMay 2011
  11. 11. City Portrait with TypographyApril 2011
  12. 12. City Portrait with TypographyApril 2011
  13. 13. ja ck jo ns h o nJack Johnson’s T-shirtDecember 2010
  14. 14. "...is it surprising that today we have become so morally blind (for wickedness blinds) that we save the baby whales at great cost, and murder millions of unborn children?" ~ Alice von Hildebrand, The Privilege of Being a Woman, p.24 ~Political PosterOctober 2010
  15. 15. “Be Not Afraid.” - Pope John Paul IIJohn Paul II Portrait with TypographyMay 2011

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