Stacks Image 603


Franziska Lee
    • 07

      Badische Neueste Nachrichten on the CD „L'Heure Exquise"

      "... The pianist's play combines clarity and many nuances of color, and she succeeds to create the large format in the Dutilleux as well as the Françaix sonata. The "Suite Française" as well as "Napoli Suite pour Piano" by Poulenc demand an lighter atmospheric approach with many nuances, which Franziska Lee copes masterfully on this CD. "
      location_on December 29, 2018 - Badische Neueste Nachrichten access_time 8:00 AM - 9:00 AM
      On her first CD "L'Heure Exquise", the pianist Franziska Lee dedicated herself exclusively to French music of the 20th century. The student of Sontraud Speidel in Karlsruhe presents the sonatas of Henri Dutilleux and Jean Françaix, two piano suites by Francis Poulenc and a colorfull Toccata by Pierre Sancan. The wide dynamic spectrum of the Seoul-born pianist is captured very well by the recording technique, not only in the weighty Dutilleux Sonata of 1947-48, where the pianist's play combines clarity and many nuances of color, and she succeeds to create the large format in the Dutilleux as well as the Françaix sonata. The "Suite Française" as well as "Napoli Suite pour Piano" by Poulenc demand an lighter atmospheric approach with many nuances, which Franziska Lee copes masterfully on this CD.
    • 07

      Radio France Musique about the CD „L'Heure Exquise“

      Broadcast „Actualité du disque : Françaix, ...“
      location_on June 11, 2018 Radio France „En Pistes“ access_time

      By Rodolphe Bruneau-Boulmier and Emilie Munera

      You have heard the prelude of the piano sonata by Jean Françaix, an excerpt from a sophisticated program presented by a musician in her first CD. It was published in the series "Portraits Premiere" of the label Capriccio, which offers to young artists the opportunity to publish their first recordings. This musician is Franziska Lee. The pianist was born in 1988 in Seoul and calls her CD "L'Heure Exquise", her CD is dedicated to our national repertoire. But not with the frequently recorded works by Debussy, Ravel, Faurée, which are so often heard here in the program. No, the pianist goes beyond and plays the works that are so often neglected by our pianists: works by Jean Françaix, Francis Poulenc, Pierre Sancan and Henri Dutilleux. She opens the CD with the Dutilleux Sonata for Piano, and she plays it very well, with a lot of energy and precision, you feel that she has no technical problems, which allows her to focus on everything else. She impressed me from the beginn until the end.

      The CD is worthwhile because of its interpreter and and because of the program. Because you do not often hear the Sonata pour Piano by Jean Françaix, he wrote it for the pianist Idil Biret.

      ----- Music ----

      Poulenc also plays a large part of the program on this CD, with his Suite Française, his trilogy Napoli, and Mélancolie, a small piece written in 1940 that is very typical of Poulenc, who, as always, surprises. I told you last Friday about the duality that is often found in the music of Poulenc. But this piece is aimed at the old and the new world, with its harmonies we are between Chopin and Debussy, but it is still Poulenc, played by Franziska Lee.


      Le prelude de la Sonate pour Piano de Jean Françaix, un programme audacieux défendue par une musicienne dans c'est le premier disque dans la collection Premiere Portraits. C'est une collection du label Capriccio qui laisse la chance à des jeunes artistes d'enregistrer leur premier disque. Et donc cette musicienne elle s'appelle Franziska Lee, c'est une pianiste née à Séoul en 1988 et elle appele son disque de L'Heure Exquise, ca consacre à notre répertoire national mais pas avec les oevres les plus enregistrées, pas de Debussy, de Ravel, de Faurée comme on l'entend souvent dans ce jour de programme. Non la pianiste va plus loin et pioche dans sa répertoire parfois délaissé par nos musiciens avec des œuvres de Jean Françaix, Francis Poulenc Pierre Sancan et Henri Dutilleux. C'est la Sonate pour Piano de Dutilleux que ouvre le disque est qu'elle joue sacrément bien avec beaucoup d'énergie et de précision. On sent qu'elle n'a aucun problème technique, ce qui la permet de se consacrer évidemment sur tout le reste et elle m'a impressionné du début à la fin et vous-même Rodolphe - il y a quelque chose d'énergie, au début vous avez dit quelque chose il n'y a pas un problème technique.

      Le disque vous avez compris vaut le coup pour l'interprete et pour le programme, puisqu'on entend pas souvent la Sonate pour Piano de Jean Françaix écrit pour Idil Biret. Poulenc pourqu'elle occupe une bonne partie aussi de ce programme avec sa Suite Française, sa trilogie Napoli et Mélancolie, une petite pièce ecrit en 1940 assez typique de Poulainc qui comme toujours surprend. J'en vous parlée a vendredi dernier de la dualité souvent de la musique de Poulenc, mais cette mélodie a fait appel à l'ancien et au nouveau monde dans ses harmonies nous sommes entre Chopin et Debussy mais c'est bien du Poulenc, joué par Franziska Lee.

      ----- Music ----

      Mélancolie de Francis Poulenc, c'est joué par Franziska Lee, cette jeune artiste qui vient de Corée du Sud et ca s'appelle L'Heure Exquise. Cet extrait de cette collection Premier Portraits chez Capriccio, une collection consacrée aux jeunes musiciciens. On écoutera peut-être prochainement le premier mouvement de la sonate de Henri Dutilleux - avec plaisir - mais oui c'est tout lendemain dans cette emission - oui, et cest souvant un oevre que est jouée par des femmes - oui vous avez raison - femmes comme Geneviève Dutilleux, Marie-Catherine Girod, Claire-Marie Le Guay sont très nombreux d'avoir enregistrée cette sonate. Tu dois y avoir quelque chose qui qui plaît aux femmes dans cette magnifique sonate.
    • 07

      Two roses for the music

      "It's worth every second to listen to the play of the pianist born in Seoul in 1988, and to watch it too: The piano is no longer played here, the piano is lived here ..."
      location_on by Claus-Dieter Hanauer
      December 12, 2017 - Badische Neueste Nachrichten
      Stacks Image 694
      In her piano recital, Jee Eun Franziska Lee lights up Schubert's sonatas

      "Death buries here a rich property, but even nicer hopes," emphasizes the inscription written by Grillparzer on Schuberts Epitaph. But these hopes have long come true, even in the major musical genres. Two months before his death, Schubert had completed a tremendous triad of piano sonatas, which were, however, published until a decade after his death. The monumental finale of this trio, the B flat major sonata D 960, described the climax of a piano evening organised by the Kulturfonds Baden in the Velte hall with the pianist Jee Eun Franziska Lee, dedicated to Franz Schubert and of his sonatas E flat major (D. 568) and A minor (D 784).

      It's worth every second to listen to the play of the pianist born in Seoul in 1988, and to watch it too: The piano is no longer played here, the piano is lived here, the movement is reduced to the bare essentials, serving only to the music, in the luminosity of the sound, fineness of the nuances and virtuos access disarmingly sovereign. The lyrical flow she gave to the E flat major sonata and her determination to accentuate the A minor work, the funeral march character of the Allegro, the balladesque of the Andante, and her ability to create lyrical lines between the haunting triplets and ragged outbursts of the finale reveiled how much inspiration this music gave to Mendelssohn and Chopin.

      In Schuberts music, Dur can be sadder than any minor, and the modestly murmuring cantabile of the first movement of the B-flat major sonata with its trillers and the subsequent Andante abyss exude everything but cheerfulness. Lee manages to gain an overview in these widening dimensions, alternating between depression and lightening, through ever new accentuation of mood changes and through tense tempi. The halftone abysses of the finale, leading to the Presto-Stretta, got a bit too active, too concrete, but Schubert's musical idea, as he described it in a prose sketch from the summer of 1822, was also complied by the encore, the G-sharp Major impromptu (D899 / 3) in the most serious way: "If I wanted to sing love, it became a pain for me. And if I only wanted to sing pain, it became love "- two roses for the music.

      Claus-Dieter Hanauer

    • 07

      Outstanding culture of sound

      Schubert pure: The pianist Jee-Eun Franziska Lee in the Alte Aula
      location_on by Klaus Roß
      February 20, 2017 - Rhein-Neckar-Zeitung
      access_time 8:00 AM - 9:00 AM

      Franz Schubert's pianistic sonata oeuvre has still not arrived yet in the concert business in all its diversity, despite famous advocats such as Alfred Brendel or Andras Schiff. Only a few late works are really present, pure Schubert-programmes extremely rare. The recital by Jee-Eun Franziska Lee at the Gesellschaft der Musik- und Kunstfreunde Heidelberg in the Alte Aula of the University with three sonatas from different creation periods of the composer, was all the more remarkable. The South Korean (born in 1988), trained by Sontraud Speidel among others, favoured classical clarity rather than romantic freedom in her Schubert performances, leaving the score speak for itself as unpretentious as it is.

      His measured attitude was already good for the little-known early sonata B major D 575, whose cheerfully playful mood Jee-Eun Franziska Lee brought out very sparkling. The song-like E major Andante she shaped into a small lyrical jewel of touching simplicity and intimacy. A solitaire in this program. Also in the much more tart and dramatic A minor sonata D 784, the characteristically cantabile middle movement turned out to be a sensible centrepiece of the performance. Schubert's sheer orchestral passages of increase came from Jee-Eun Franziska Lee without any hardness or heaviness, a further proof of the outstanding sound culture of the Korean pianist currently studying at the Salzburg Mozarteum.

      The highlight of the Heidelberg concert evening, however, was undoubtedly her astonishing maturity and sovereign interpretation of the great late A major Sonata D 959, which even did not have to shy away from prominent interpretation comparisons. Grandiosely wide-ranging the first movement, filled with symphonic breath. Far away from all larmoyance the subtly moving F-minor-Andantino. Feather-light the wonderfully enjoyable Scherzo, and truly enthusiastically exhilarating and in addition delicately nuanced the uniquely melodic final movement: Those who play works by Franz Schubert in such an animated and elegant way should find their place in the international piano world. Warm applause in the unfortunately only half-filled Alte Aula of the university. For the applause, the artist thanked with the wonderfully cantable interpreted Impromptu Gb major D 899/3.
    • 07

      ... the playing of the Korean pianist Jee-Eun Franziska Lee was delightful.

      Her impeccable technique is as admirable as the versatility of her musical expression.
      location_on by Klaus Günther
      November 07, 1026 - Solinger Tageblatt
      access_time 8:00 AM - 9:00 AM

      ... The audience in the Meistermannsaal has been deeply impressed. For them, also the playing of the Korean pianist Jee-Eun Franziska Lee was a delightful experience. The young musician has already won numerous prizes at prestigious competitions. Her impeccable technique is as admirable as the versatility of her musical expression.

      On Sunday she performed two piano concertos with the Dortmund Philharmonic, first the A minor Concerto by Clara Schumann (1819 - 1896). Clara's romantic love story with Robert Schumann is known thanks to several films. She began composing her concert at the age of thirteen and she played the world premiere in Leipzig at the age of sixteen. Conductor at that time: Felix Mendelssohn.

      He is the composer of the Concerto in G minor, which Franziska Lee played at the end of the concert evening. While the pianist conjured up lyrical moods in the work of Clara Schumann, she thrilled with brilliance and virtuosity at the Mendelssohn concert.

    • 07

      Intimacy and maturity

      Kulturfonds Baden honors JeeEun Franziska Lee
      location_on by Christine Voigt
      Badische Neueste Nachrichten - October 06, 2015
      access_time 8:00 AM - 9:00 AM

      The young pianist JeeEun Franziska Lee, who has now received the Music Prize of the Baden Cultural Fund, is not unknown in Karlsruhe. Born in 1988 in Seoul / South Korea, she first studied in her home country until she got the bachelor's degree. As a scholarship holder of the DAAD, she continued her studies from 2011 at the Karlsruhe University of Music. Since 2013 she teaches there as a student lecturer the compulsory subject piano. In the meantime, she has won a number of national and international competition prizes and already participates as a jury member in competitions.

      She lead the award ceremony of the Cultural Fund in the Catholic Church Hohenwettersbach herself with the performance of Mendelssohn's "Fantasia" in F sharp minor op 28th. In deep inner sympathy she provided to the first part a colorful design with flowering technique, to the second she gave a friendly lovely face, and finally she inspired the listeners with the final Presto in souvereign technique with dynamic flexibility and elastic smoothness. After welcome words of the local head Elke Ernemann a dialogue took place between the young pianist and her teacher under the title "in the field of tension of the cultures" , where the young Korean showed a perfect integration and excellent German language skills. This discussion was followed by the presentation of the prize by Matthias Tritsch, President of the Cultural Fund.

      Finally, Lee celebrated Beethoven's last Sonata No. 32 Op. 111 in C Minor, which is regarded as the legacy and culmination of his sonata work. Deeply immersed in the spirit of this music, she created, after a slow introduction in the fast first movement, exciting climaxes as well as clear contrasts. She presented the slow "Arietta" with a particularly soft touch and played it with deep intimacy and astonishing maturity. A wonderfully wide bow spread over this variation movement with all its contrasts, and the listeners reacted with deep emotion.
    • 07

      Tender and dynamic-powerful melodies

      The South Korean Jee-Eun Franziska Lee has given a concert in the Simmozheimer Town Hall
      location_on by Bettina Bausch
      Schwarzwälder-Bote - November 11, 2014
      access_time 8:00 AM - 9:00 AM
      (soon available in English)

      Ihr Spiel ist zart und ausdrucksvoll und die Phrasierungen gestaltet sie mit großer Intimität. Jee-Eun Franziska Lee ist eine Ausnahmemusikerin und Meisterin ihres Faches. Denn was die junge Pianistin jetzt aus dem Flügel im Simmozheimer Rathaussaal geradezu herauszauberte, war Musik der Spitzenklasse.

      Leicht vorgebeugt, immer auswendig und mit traumwandlerischer Sicherheit spielend, schien die Ausnahmekünstlerin mit dem Klavier geradezu verwachsen. Da war nichts von divenhaftem Gehabe zu spüren.

      Hinter ihrem schlichten, freundlichen Auftreten verbirgt sich ein ungewöhnliches Musiktalent. Wer sie schon vor zweieinhalb Jahren an selber Stelle spielen hörte, merkte schnell, dass die Musikstudentin mit südkoreanischen Wurzeln inzwischen noch präziser, noch sicherer in der Interpretation, ja nahezu perfekt geworden ist.

      Schon gleich mit dem ersten vorgetragenen Werk, Felix Mendelssohns Fantasie fis-moll op. 28, spielte sich die 26-Jährige in die Herzen der gespannt lauschenden Zuhörer. Das variationsreiche Stück mit fantasievollen Passagen ist in einer eher ungewöhnlichen Tonart geschrieben und verlangte hohe Konzentration sowie großes inneres Mitschwingen. Schon hier blitzte die Fähigkeit der jungen Musikerin zu ungewöhnlich sensibler Interpretation auf.

      »Franz Schubert ist mein Lieblingskomponist«, bekannte sie lächelnd. Wohl auch deshalb stellte sie seine Klaviersonate in A-Dur in den Mittelpunkt des Abends. In den Sätzen Allegro, Andantino, Scherzo und Rondo, brannte die Meisterin der Tasten eine wahres Feuerwerk ihres Könnens ab. Zeigten die schnellen Sätze ihre fantastische Fähigkeit im virtuosen Spiel, so meisterte sie ruhigere Passagen mit großem Einfühlungsvermögen.

      Höchstes Niveau erreichte Lee bei der Präsentation ihres dritten Werks, der Klaviersonate c-moll, op. 111 von Ludwig van Beethoven.

      Im Allegro con brio ed appassionato wurde das typisch leidenschaftlich Entfesselte der Beethoven'schen Musik großartig herausgearbeitet Der Schlusssatz des Adagio molto mündete dann ein in eine ruhig-melodiös geprägte empfindsame Spielweise. Die zarte und immer wieder auch dynamisch-kraftvolle Art zu Spielen hatte restlos überzeugt.

      Die Besucher des Abends waren erfasst worden vom meisterhaften Spiel der Musikstudentin, die bereits im Alter von fünf Jahren Klavierunterricht bekam und sich jetzt auf die Prüfung zur höchsten Stufe für Pianisten vorbereitet.

      »Das war ganz, ganz toll«, resümierte Bürgermeister Hartmut Mayer. Er überreichte der Künstlerin unter begeistertem Applaus des Publikums ein Blumengebinde. Der Rathauschef kündigte an, das südkoreanische Genie am Flügel auf jeden Fall zu einem weiteren Konzert in die Gäugeeinde einzuladen.

    • 07

      Room-filling piano sound

      Soloist exam of the pianist Jee-Eun Franziska Lee at the Musikhochschule Karlsruhe
      location_on Badische Neueste Nachrichten, hd - July 08, 2014 access_time 8:00 AM - 9:00 AM

      Most public recitals of the Soloist Examina at conservatoires have one thing in common: The selection of the standardized, classical-romantic piano repertoire; sadly, "slips" into the Baroque era or even into the 20th century are rare here. However, this can not be said about the program chosen by Pianist Jee-Eun Franziska Lee, born in Seoul, Korea in 1988, who has been studying with Sontraud Speidel since 2011 at the Musikhochschule Karlsruhe and now for over a year in the study course Soloist Exams: She combied Schuberts late A major Sonata D. 959, which even "established" pianists dread, with the Piano Sonata of the French composer Henri Dutilleux, deceased 2013, and betrayed by that even before the first sound was heard the artistically individual approach of Jee-Eun Franziska Lee, with which she presented her soloist exam recital in Velte Saal of Schloss Gottesaue.

      With her truly room-filling orchestral, sustainably sonorous piano sound and the intellectual penetration of the formal arrangement of the first movement in Schubert's sonata, Lee clearly showed her artistic maturity and intelligence. In the following Andantino, the exact perseverance of the tempo, without much yielding, expressed Schubert's typical wanderer-like character while avoiding unnecessary sentimentality. Extremely impressive was here the wild, inexorably designed "thunderstorm" in the center of the movement.

      With the scherzo played with serene wit and the concluding, adequately fast paced rondo, Lee finally led to Henry Dutilleux's piano sonata, proving her great technical and physical as well as her creative power of her playing. She succeeded in capturing the many characters of the often shimmering, erring light to form a work with sometimes almost jazzy echoes into a large ensemble, while she always articulated precisely. In the sometimes slow second and third movement, she clearly emphasized the melody-leading voices and, in other complex and fast passages, put the virtuosity required here entirely into the service of the work.

      The audience was extremely impressed and enthusiastic about the play of this pianist, whom we wish a great publicity in future.
    • 07

      Depth of feeling

      Jee-Eun Franziska Lee in the Villa Wieser with Zonta
      location_on Rheinpfalz Zeitung, wtz - September 14, 2013 access_time 8:00 AM - 9:00 AM

      The South Korean pianist Jee-Eun Franziska Lee offered a brilliant concert at Zonta Club Landau-Südpfalz on Saturdayin the Villa Wieser. She impressed by imposing performances of highly sophisticated works by Scarlatti, Beethoven and Scriabin.

      The petite young woman, who focused on the first few bars of a Scarlatti sonata with a confident calm, showed already in her gesture a complete devotion to the music. She brilliantly developed the vocal lines of the lyric F minor Sonata (K, 481) as well as the clear contours of the animated Sonata in D minor (K.1).

      Also in the rapid performance of the Chopin Etude in F major, op. 10, the pianist convinced with her sophisticated technique and touch culture. In the performance of the ingenious paraphrase of Isoldes love death from Wagner's opera by Franz Liszt, she proved that she prefers colorful playing . This reveals a deeply romantic world of sound, which demands orchestral sonority as well as colorful dynamics from the performer. Lee flawlessly played the virtuoso sound cascades, confidently modeling the themes out of harmonic events. Decisive were her emotional depth and passion, which she also expressed in her imaginative interpretation of the second Sonata in G sharp minor op. 19 by Scriabin.

      But the highlight of the concert was her interpretation of Beethoven's last Piano Sonata No. 32 in C minor. This large work is one of the most expressive works of Beethoven. It demands a confession of the interpreter to his music, it has become the touchstone of all great pianists. Jee-Eun Franziska Lee interpreted the work with enormous energy and power, placing emphasis on the contrasting orchestral effect. Her view of the passionate Allegro movement impressed by powerful dynamics. In the variations of the Arietta, a songlike adagio, the pianist developed the tender sound structures with expression and rhythmic precision.

      In Seoul, Jee-Eun Franziska Lee graduated 2011 with a bachelor's degree as best student of the year. After competition successes in Korea and Vienna, she began her Master's degree in 2011 at the Musikhochschule Karlsruhe with Sontraud Speidel supported by the German Academic Exchange Service. The young pianist has proven her skills in numerous concerts, and the concert evening for Zonta was a further proof of her ambitious art.

    Impressum und Datenschutzrichtlinien

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