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And then he abandoned that band too. After that Shaw began working on classical pieces and played a concert with the National Symphony Orchestra in February They were recorded on the Columbia label with Walter Hendel conducting, and some of them are also available, along with some Grammercy Five tracks, on the Hep label, already mentioned, in a CD called The Artistry of Artie Shaw.

It was an advanced and adventurous band. Its only recordings were for Thesaurus Transcriptions, and it never found a large audience, but some of the material was released on CD by MusicMasters in After that Artie put together — almost contemptuously, it would seem — a band that played the hits of the day.

To his dismay, he claimed — then why did he do it, if he hadn't expected this? He folded that band in Senator Joseph McCarthy was running around like a rabid dog, causing heartache and heart attacks and leaving a trail of blighted lives.

McCarthy told at least one journalist I know that he was going to be the first Catholic president of the United States. And he obviously didn't care whom he killed in pursuit of this ambition. This political performance contributed to Artie's disgust with the public and its manipulators.

After playing some Gramercy Five gigs with Tal Farlow and Hank Jones and recording the group inhe quit playing completely. He moved to Spain, there to finish his second book, I Love You, I Hate You, Drop Deadshort works of fiction whose acerbic title and content reflected his state of mind at the time. He admitted once to my wife that he went to Spain because he was frightened.

After he returned to the United States inhe tried his hand at several things. He started, of all things, a rifle range and gun-manufacturing business. At one point he set out to become a marksman and got so good that he placed fourth in national competition. He established a film-distribution company. It was while he had this company that I first met him. That would have been about When I encountered him again in California, inI found him changed — still a dominating talker, to be sure, but somehow more accessible.

And witty. He was living alone in the house at Newbury Park with his books, a typewriter, a big friendly English sheepdog named Chester Chaucer, and a Hindsberg grand piano at which he would occasionally sit in solitary musing — "I've done some stupid things in my life," he said — playing Debussy or Scriabin.

Now and then he would have friends in for dinner and, to judge by his protestations, he finally had his life in the rational control he had so assiduously sought to impose on it. But a certain loneliness, like a fine gray rain, seemed to have come over him. He never said so, and I never asked, but I could sense it. He was teaching a course at Oxnard College not so much about music as Out Of Nowhere - Artie Shaw - The Complete Artie Shaw in general.

At the end of it, he asked the class if they had any questions. A young man stood up and said, "I play three instruments, piano, tenor, and bass. People can't hear pitch that well down in those registers. But what's your question?

But I still don't know what the question is. I swung off California Highway and wove through the winding streets to Artie's house, which, at the end of a short lane lined by oleanders, is hidden from the street. I rang his bell, which had a small sign beside it: This is a writer's home. Do not ring without good reason. As he opened the door he said, "Hey, man, I got a book you should read.

Hemingway shaped our whole generation, of course. He stood there like a block in the road. You couldn't ignore him. It interested me to find that the kinds of values he espouses in certain stories — The Short Happy Life of Francis Macomber, The Snows of Kilimanjaro — are essentially the stiff-upper-lip we-don't-speak-about-that upper-class British thing: like looking down on some poor bastard who runs from a charging lion.

Not done, dear boy. Man, if a charging lion comes at me, you're gonna see me under the nearest couch, and I don't care about anybody saying, 'That's just not done. Why do we feel in our bones that to be afraid is a very bad thing? You're not necessarily a coward to bow to superior force, and a wounded charging lion is something I would definitely call superior force. There's a big difference between the artist and the entertainer.

Now there's nothing wrong with entertainment. But we ought to make a distinction between that and art. The man has a serious purpose, which is basically to do what he does to his utmost limits. If the audience doesn't like it, that's too bad.

He naturally wishes they did. But he can't stop himself. Where the entertainer says, 'Give the people what they want,' the artist says, 'No, I'm gonna give the people what I want.

And if they don't like it, tant pisthat's tough, but I gotta do it. And don't we overlook it? If you want to write your own kind of music, do something like what Charles Ives did — run an insurance company, or take up carpentry, whatever. If you cheat on your own ability, for instance by writing less than your best, in order to make money, you're doing something that'll vitiate your abilities forever.

When you're a young man just getting out in the world, one or your biggest problems is, 'How am I going to make a living? When you get past that — that is, if you grow — you can then ask yourself, 'Now. What do I want to do? Man, what a phrase. But they've stopped growing.

I prefer to invert the old phrase, 'If you're so smart, why ain't you rich? Joey Bushkin was playing piano, and he talked about Bing Crosby. When he was working with Bing, he played something and Bing liked it and the audience liked it. The next time Joey played it differently. Bing said to him — and Joey quoted this with some admiration — 'If you do it right and the audience likes it, why change it?

If you're an artist, you have to change it. How can you keep doing the same thing over and over without being bored to death? Point is, the reason Lawrence Welk has been so successful is that he does what would bore me to tears and does it with great enthusiasm.

Guy Lombardo did what he did very well. But it was Model T music, of course. He was a sweet guy, and the band played Model T music. We used to laugh at them when I was a kid. When I was seventeen, I worked right across the street from him in Cleveland.

I was listening to Bix and Tram at the time, and the Goldkette band and, occasionally, even the Dixieland Five. Guy's was a perfectly okay sweet band, like Jan Garber, Paul Specht. Paul Whiteman, mostly, was a sweet band. It seems to be a mirror of what's happening to the entire world. We talked some more about the nature of improvisation. He said Mozart would be developing his material logically and then suddenly he'd come up with something so unexpected and off the wall and yet so right that you wonder how he thought of it.

He said that any kind of music that was not somehow in touch with the process of improvisation was likely to be sterile. If music is all left-brain, it comes out cold. If it's all right-brain, it comes out chaos. When I was playing, if I got into a good solo, my right brain was doing it. My left brain was translating it into fingers. Learn enough technique, develop enough ability that you can then ignore it. Use a boat to get to the other side of the river. Then you don't need the boat any more.

You turn the switch that says, 'Improvise. Charlie was dead right. Shaw's first book, The Trouble with Cinderella was published in It was not so much an autobiography as a self-absorbed essay on the life of one troubled man living in a fame-addicted America. Vol. II/1939 (8-Track Cartridge) no country on earth has ever placed as high a premium on conspicuous public success as the United States, and it's worse now when it seems the only thing worth being is a rock star, so much so that we have people playing what they call "air guitar" along with records of particular idols.

There is even an international air guitar championship. This preoccupation amounted, and to a large extent still amounts, to a national social disease, embodied in the misleading myth that anyone can grow up to be president, anyone can be discovered sipping a milkshake in a drugstore and become a movie star overnight.

The movie industry may have nurtured and magnified the myth but it did not invent it: it was embodied in the Nineteenth Century Horatio Alger novels. In the s or '50s, Glenn Ford appeared in a movie in which he played a bus. You knew as the film unfolded that there was something amiss.

Hollywood didn't make movies about bus drivers, bus drivers were not people with stories worth telling. Movies were made only about the rich and famous, or the likes of test pilots and soldiers of fortune and outlaws. This is not to suggest that the aspiration to upward mobility did not exist in Europe: it is inherent in fairy tales such as Snow White and most notably Cinderella, which is of course the reason for the title of Artie's book.

But Europe's was largely a stratified and inflexible society in which these sudden elevations into power and fortune were accomplished only by the intercession of improbable accident if not the supernatural.

Europeans were sensible enough to let the dream repose in wistful stories for children. The trouble with the Cinderella myth in America was that, in a flexible and open culture, one that is alas now becoming stratified along economic lines, perhaps even more than in Europe, the dream came true just often enough to encourage the dreamers and lead them to heartaches and suicides. It would be inconceivable that Artie, in his youth, did not aspire to making a lot of money.

His Jewish childhood in New Haven was too impoverished for him to have been devoid of that ambition. He was a man of cultivation, who spoke Spanish well and some French, who collected and knew a great deal about art, was endlessly and penetratingly observant of politics and history, and who was in sum, and in the largest sense, a citizen of the world.

There are, however, two things about him that I found to be quite Jewish, and particularly Russian Jewish. One was his passion for education. The other has to do with music, and requires a Vol.

II/1939 (8-Track Cartridge) explanation. Under the czars there was a law that a Jew could not live in Moscow unless he or she was an artist, a ballerina or a fine musician — a wind-up toy to entertain the rich. And so in Jewish families in such cities as Odessa the breeding ground of an astonishing number of great violinists and, coincidentally or not, the birthplace of Artie's fatherthere was emphasis on becoming a musician in order to live in the great city of the czars. It was a way up and a way out.

In America, among Russian Jewish families, the tradition lingered. And so in Arthur Arshawsky, a Lower East Side Jewish boy transplanted to WASPy New Haven and later abandoned by his father and always teased about his "peculiar" name, there must have been a tremendous drive to get out of that poverty whether through literature or music or whatever variant of the Cinderella Alger myth.

To be continued …. The Anchorite: Part Three. The attitude toward it was often one of surprise, as if one had come across a bear riding a bicycle. This bespoke underlying assumptions that jazz musicians are illiterates and bandleaders only baton-waving clowns. And it expressed a peculiarly American belief that no one can do more than one thing well — an article of faith whose father was probably Henry Ford.

If you're powerful enough to make me, break me. I'm waiting. Do it. Another line is, 'Who do you think you are? Who are you? A guy once came up to me and said, 'Remember me? The guy said, 'Remember the Cornell prom? It was just one more one-nighter. The guy said, 'I was there. You're that one. Now I know who you are. I make that up not. Artie chuckled. At the time he did this, I must have been fifty. Which makes it forty-one years. I said, 'Do you expect me to remember that?

They have a certain respect for people who are no longer big stars. They seem to recognize that in order to have become a big star, you had to have had something going for you.

Examine that carefully. He regretted, maybe resented, not being remembered, and I saw evidence of that more than once. He came close to admitting it. He said, "You get used to it, and you just don't get over it. He said, "I used to get a lot of criticism for being 'nasty' to fans.

But I don't think I was being nasty. I remember walking out of the Stanley Theater in Pittsburgh one time, and this kid came up to me and was very aggressive about getting my autograph. I finally said, 'Wait a minute, what do you want this for? That's what I think you should do if you really admire something. When I was about ten years old in New Haven, some kid came up to me and said, 'Hey, come on,' and I said, 'Where we goin'? They were playing Son of the Sheik, or one of the old Valentino movies.

He said, 'Valentino, Rudolph Valentino, he's gonna be there. Let's go and watch him come out of the theater. We stood in the alley leading to the stage entrance and, by God, here came Rudolph Valentino. Surrounded by people. And I looked, and there he was — the Sheik. Well, the kid grabbed me and said, 'Come on,' and I said, 'Whatya doin'? We'll talk to him. So you see, even then, I felt that way. If there's someone you look up to, well, leave him alone, man.

Don't invade his privacy. And you know, it's taken me forty years to get it back. There's something Artie never seemed to understand about fame. In the arts it is necessary. If you don't have it, you can die with none of your art ever being Out Of Nowhere - Artie Shaw - The Complete Artie Shaw or appreciated, as in the examples of H.

Lovecraft and Van Gogh. In other professions, it is necessary that you command high respect among your colleagues and professional peers: they're the ones who recommend you, whether you're an electrician, a heart surgeon, or an engineer.

But in the arts, what the public buys — and what the corporations involved in the process sell — is not your art but your name.

If you're going to get exposure for your work, you have to be what the Hollywood film industry calls bankable. And Artie accepted, more or less unexamined, the premise of such people: that if it sells it isn't good, and if it doesn't, that's some proof of greatness. That isn't true either. He said, "You can't bury shit deep enough that the American public won't dig it up and buy it. Johnny Carson hates it.

Johnny told me he hardly ever goes anywhere because someone is always trying to pick a fight. I'll tell you another guy. Mohammed AH. People are always taking a poke at him. What can they lose? He can't hit them back. People are always asking me, 'Don't you miss playing?

But not enough to give up what I've got now. It's like having a gangrenous arm. The only thing you can do is amputate it. Obviously you're gonna miss the arm, but if you don't cut it off, you'll die. The following year he was called before the House UnAmerican Activities Committee, whom he told that he had attended the postwar World Peace Congress because he was interested in peace and world justice.

HUAC said it was a Communist front organization. He told them, or so he told me, "Show me a Republican-front group that believes in peace and I'll join that too," He outsmarted them, in other words. It seems unlikely that they would be deterred by such a defense.

And long afterwards there were veterans and victims of the witch hunts who claimed he finked on his friends, but they're all dead now and you can't ask them. With the anti-Communist hysteria still in the air, he moved with his latest and last wife, Evelyn Keyes, to Spain, where they built a beautiful and luxurious home near Catalonia. He returned to the United States insettling in California.

We talked on the phone — usually at length — at least every other day, on all manner of subjects. He said he'd quit smoking at seven packs a day. I quit at three. He said that his disgusted sensitivity to cigarette smoke had reached the point where he could smell it from the car ahead on the highway.

I told him he was crazy. Within a year of quitting, I could too. I considered him just about my closest confidant. One day, to my surprise, he told me on the phone he was thinking seriously about forming a new band. He said that, if he did, he'd limit himself to hiring and rehearsing it. Then he would send it on its way with someone else as its leader. That struck me as being like deciding to get a little bit pregnant. One day he told me he was indeed forming a new band. It would be led by clarinetist and saxophonist Dick Johnson.

Artie was doing the hiring in conjunction with Johnson, and rehearsing the musicians. He had insisted that there would never be an Artie Shaw ghost band. Woody too vowed that there would never be a ghost band with his name on it, but toward the end of his life he relented, realizing it would give employment to young men in a business in which it was increasingly difficult to make a living.

There have been various editions of the Count Basic band since his death, but as good as some of them have been, they are not Basic bands to me. You can't have a Basic band without two elements: Basic and Freddie Greene.

What Basic did with that band from his keyboard remains mysterious. And the idea of an Artie Shaw band without Artie Shaw struck me as extremely strange. And there was this oddity about it too: it would be the only ghost band with a living ghost. He went back east to debut the band, playing the initial engagement at the refurbished Meadowbrook Ballroom. Someone who attended the opening said that it was fascinating to watch him.

At first he watched the audience suspiciously, but as its perceptive attention and warm applause continued, he gradually unwound and finally said to them with a grin, "Where were you when I needed you?

The answer was that they had always been there. He had abandoned them, they had never abandoned him. What, then, was the bitch? Was he now admitting he had always needed them but couldn't face the truth of it? Everywhere the band went people said it was a superb organization. Sometimes Artie led it; much of the time it was led by Dick Johnson.

Then he told me he'd had it; he'd let Dick Johnson continue with the band, he wanted nothing further to do with public appearances. It was as if quitting the business had become his life's work. Rossini pretty much gave up composing at forty, and so did Sibelius at about the same age. They apparently made no fuss about it: they just quit. Early inArtie phoned to urge that I see a showing in Los Angeles that evening of a documentary film about his long-dead hero Bix Beiderbecke, made by a German-born Canadian film maker named Brigitte Berman.

I made the trip, and saw the picture, a very sensitive and illuminating piece of work. Artie is one of those who discusses Bix on camera. Afterwards I attended a party with a number of elderly musicians who as members of the Whiteman band had known Bix and who discuss him, as Artie does, in the picture. Two days later Artie called to be sure I'd seen the film. He sounded slightly annoyed.

I told him that I'd found the film so powerful I could hardly bear to talk about it. I said, "It left me with a terrible sense of melancholy. I feel as if I had known him, almost as a close friend, and I am overwhelmed by a sense of loss. I saw the picture again yesterday, and it left me in a peculiar state of mind. Full of rue. A few months later Brigitte Berman called him.

She'd decided on her next film project: a documentary about him. She began shooting. In February ofArtie was hospitalized for emergency prostate surgery. He was on the operating table for five hours and nearly died. I told Ginny Mancini about it. She said, "Don't worry about him. I worked for him. He's too mean to die. Artie attended the ceremony with her. They ran a gamut of clicking cameras, photographers grabbing pictures of the celebrities.

Not one of the cameras was aimed at him. A reporter asked him how he felt about this. He said, "It took me thirty years and I had to grow a beard and lose my hair to achieve this condition.

A few weeks later, he stumbled and badly broke his right arm. It was slow to heal and remained in a cast for weeks. I have seen him angry — and two of his ex-wives, Evelyn Keyes and Lana Turner, have testified in their autobiographies to his volcanic temper — but never depressed. Now he was depressed. After many months the arm began to heal. You don't do that anymore. You don't have to solve that problem. I met Artie in A novel of mine, whose protagonist was an American singer in Paris, based a little bit on Eddie Constantine, had just been published.

I got a call one day from a voice that said, "This is Artie Shaw. He explained that he was now out of the music business and was producing films. Thinking back, I recall no film that he ever produced, or at least completed. He said he wanted to film my book. He asked me if I were interested, and of course I was, and we arranged to have lunch.

He said the story needed a few little changes, and we had several more meetings. With each change that he wanted to make, I came gradually to realize that he was turning it into the story of Artie Shaw, and my role in the project was that of amanuensis. He didn't want to collaborate, he wanted to dictate.

I suddenly realize — a Eureka slap to the forehead! This process trailed on for a time, and then I moved to Toronto, where I worked for the next four or five years, mostly in television and radio.

When next I encountered him, in circumstances I no longer recall, it was in California. And, again he wanted me to write with him. Asked in the LA Weekly interview why he never fell prey to drugs many musicians didn't, but let it passhe said:.

What is it? Who are we? Where are we going? Any thoughtful person realizes the answers to those questions are a complete mystery. I certainly don't have the answers, but I do believe there's something here that doesn't meet my eye. We have no concept of what the force is that made this topsy-turvy, insane cosmos, but something did. You can't make me believe it came out of nowhere and is nothing but an inane joke.

How do you explain Bach's B-minor Mass, or the proportions of the Acropolis? That cell has as much awareness of what Kasparov's doing as we do of God's activities. We like to presume we know about the universe, but we don't know what we're talking about.

We have finite minds, and we're dealing with something called infinity. The most one can hope for is to live a good life and try to leave things a little better than he found them. And he thought that out all by himself? A classic example of Artie Shaw wading up to his ankles in the ineffable, and Arthur C. Clarke said it better: "The universe is not only stranger than you can imagine, it's stranger than you can imagine.

I know we talked a great deal about physics and cosmology, as well of course about music. A rumor had gone out that Artie Shaw wrote his solos in advance, a denigration that compliments their compositional integrity.

But his solos on alternate RCA Victor takes, recorded probably minutes apart, are distinctly different, and. There is a version of Stardust taken from a radio broadcast of December 23, in which his solo is not only different from the well-known one recorded inbut if possible, even more brilliant. The rumor may have had its source in the fact that on his major hits, Shaw did play in personal appearances the solos he had recorded.

So did the side men. He told me that the reason for this was that if the audience didn't hear exactly the solos that were on the records, they thought that ringers had been imported into the band.

What Shaw did do was to write out saxophone choruses, even marking the breathing places, and turn them over to his arranger, who in the early years was usually Jerry Graziano, who changed his name to Jerry Gray. I taught him how to arrange. Remember, I was an arranger before I was a bandleader. Jerry started with my string band in He was my first violinist. And he played some jazz accordion.

Later, inwhen I broke up that band, I called Glenn Miller and told him I had a few people he ought to listen to. Jerry did Glenn a lot of good. Jerry wrote A String of Pearls for him. Because, then, of the relationship between Shaw and Jerry Gray and because of his habit of writing out the sax choruses and Artie was a sought-after lead alto player before he was known as a clarinetistthere is a stylistic continuity in what he plays and what the band plays.

The sax-section choruses, in effect, are orchestrated Shaw solos. Even Artie couldn't remember whether he or Jerry Gray wrote certain things during the '39 period. And in fact, that very celebrity got in his way in the jazz world. He was seen as a famous and glamorous figure, not as the exquisite, brilliant jazz musician he was. It also went unnoticed that his musical idol was Lester Young.

Inhe told Loren Schoenberg:. We also sat around his hotel room in Harlem playing, just the two of us. I was always after Bill Basic to let him play more, because Herschel Evans was doing most of the soloing at the time. Bill said something of interest to me: 'When Lester plays, I kind of lose the band.

It was the same with Thad Jones twenty years later. He would go off into another place. Lester played very, very relaxedly; he wasn't pushing the beat. If anything, he was lagging behind it. This was not done at that time. His ability to handle eighth notes without rushing them was beautiful. Also, Lester played music first, jazz second. When Lester would play something, and I would follow him, we were kind of meshing. It was a very interesting kind of juxtaposition of two quite different sensibilities doing almost identically the same thing.

He knew I dug him, and I knew that he dug me. Dig is a good word there — not just understood, not just heard, but dug. Got underneath. So did Artie. Shaw told Schoenberg, Lester Young "played better clarinet than guys who played 'better' clarinet than he did.

The formulation of the idea in his head, musically, came out of his horn. Once my wife mentioned on the telephone to Alan Stein, my New York lawyer and friend that Artie had been over the previous night for dinner.

Alan said, "Who? He said Artie had been a client of his when Alan was just starting his career in the company that would evolve into the distinguished law firm of Zissu, Marcus, and Stein. Alan told her, "Listen to me, Boobie. Do not let that man into your house, into your life, even into your thoughts. He is one of the most evil men I've ever known.

Begleitungsmusik Op. Six Pieces For Orchestra, Op. Moderato 2. Con Moto; IV. Allegro 4. Alexander's Ragtime Band 2. Isn't it Romantic? Pennies from Heaven 4. Poor Butterfly 5. When you're Smiling 6.

If I Could be with You 7. Coquette 8. If I had You 9. Adagio 3. Allegro Rondo 4. Allegretto un poco 5. Poco adagio 6. Allegro non troppo 7.

Source: CD. September 3. Beim Schlafengehn 4. Im Abendrot 5. Zueignung 6. Das Rosenband 8. Meinem Kinde 9. Piano Concerto No. Romeo and Juliet Fantasy Overature 2. Swan Lake, Op. Swan Lake, Op Overture To "Die Zauberharfe" 6. Jeux De Vagues 3. Nuages 5. XXII: 14 : Kyrie 2. XXII: 14 : Gloria 3. XXII: 14 : Credo 4. XXII: 14 : Sanctus 6. XXII: 14 : Benedictus 7.

Martin-in-the-Fields; Philip Ledger. Magnificat: Magnificat 2. Magnificat: Quia Respexit 3. Magnificat: Quia Fecit 4. Magnificat: Et Misericordia 5. Magnificat: Fecit Potentiam 6. Magnificat: Deposuit Potentes 7. Magnificat: Suscepit Israel 8. Magnificat: Gloria Patri 9. Adagio Vol. II/1939 (8-Track Cartridge) 3. Rondo Allegro 4.

Adagio Sostenuto 5. Allegretto 6. Marcia funebre Deux Portraits op. En pleine fleur Deux Images pour Orchestre op. Sinfonia: I. Sinfonia: II. Largo - Elegy for Olly Wilson Sr. Sinfonia: III.

Drammatico 5. Allegro sfumato 6. Paesaggio: andante 7. Kyrie 2. Gloria 3. Credo 4. Sanctus - Benedictus - O Salutaris 5. Rondo B-dur Wq 58 Nr. Rondo Es-dur Wq 61 Nr.

Rondo c-moll Wq 59 Nr. Rondo C-dur Wq 56 Nr. Rondo a-moll Wq 56 Nr. Fantasia C-dur Wq 61 Nr. Rondo G-dur Wq 57 Nr. Rondo E-dur Wq 58 Nr. Rondo E-dur Wq 57 Nr. Finale: Allegro Commodo 4. Andante 6. Allegro Vivo 7. Menuetto Allegretto Trio 4. Prestissimo 5. Presto 6. Largo e Mesto 7. Menuetto Allegro 8. A Magic Casement - Casement I 2. A Magic Casement - Come Away 3. A Magic Casement - Moonchild 4. A Magic Casement - Feary Revels 9. A Magic Casement - Song A Magic Casement - Casement V Two Pianos - Part I Two Pianos - Part II Say It With Music 2.

Everybody Step 3. All By Myself 4. Pack Up Your Sins 5. Lady Of The Evening 6. Tell Her In The Springtime 8. Lazy 9. Medley:: Always; Remember How Many Times Blue Skies Russian Lullaby The Song Is Ended Disc 2: 1. Roses Of Yesterday 2. How About Me 3. Marie And Coquette 4. With You 5.

Puttin On The Ritz 6. Waiting At The End Of Sanctus 5. Benedictus 6. Ludus Danielis A 2. Piano Sonata No. Piano Sonata no. Spring Song, Op. Dance Intermezzo, Op. Pan And Echo, Op. Valse Romantique, Op. Canzonetta, Op. Petite Scene - Polka - Epilogue 8. Piece Caracteristique - Melodie Elegiaque - Danse 9. Romance In C Major, Op. Concerto In A Major, K. Largo; III. Concerto In D Major, Hob. Vivace 7. Un Poco Adagio 8.

Rondo All'Ungherese John's College Choir; George Guest. Liszt: Missa Choralis: Kyrie 2. Liszt: Missa Choralis: Gloria 3. Liszt: Missa Choralis: Credo 4. Liszt: Missa Choralis: Sanctus 5. Liszt: Missa Choralis: Benedictus 6. Liszt: Missa Choralis: Agnus Dei 7. Bruckner: Motets: Inveni David Bruckner: Motets: Pange Lingua Gloriosa Concerto in A major, KV Allegro 5.

Concerto in A major, KV Adagio 6. Opener 2. Serenade In Blue 3. Jones Beach 4. Lush Life 6. Opus No. Autumn Leaves 8. A Swinging Serenade 9. Violin Concerto: I Andante: Allegretto 2. Andantino Grazioso; 3rd Movt. Rachmaninov: Piano Concerto No. Villanelle 2. Le spectre de la rose 3. Houston Press. Retrieved June 30, January 26, Entertainment Television. BBC News. February 15, MTV Network. Undercover Pty. Associated Newspapers. Affari Italiani. July 11, Archived from the original on August 22, Toronto: The Globe and Mail.

The Irish Times. March 23, The Japan Times. Toshiaki Ogasawara. The Telegraph.


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