Earl Wild Plays Spanish and French Gems Music by Albéniz, Debussy, Falla, Granados, Mompou, Moszkowski and Ravel Manuel de Falla (1876-1946) n Danza del molinero (“Miller’s Dance”) from El sombrero de tres picos (“Three Cornered Hat”) n Danza ritual del fuego (“Ritual Fire Dance”) from El amor brujo Commenting on Spanish music, and his own contributions to it in particular, Manuel de Falla once stated, “Our music must be based on the natural music of our people, on the dances and songs that do not always show close kinship… It has occasionally been asserted that we have no traditions. We have, it is true, no writ- ten traditions; but in our dance and our rhythm we possess the strongest traditions that none can obliterate. We have the ancient modes which, by virtue of their extraordinary inherent freedom, we can use as inspiration dictates.” Manuel de Falla was born in Cadiz, Manuel de Falla Spain, November 23, 1876. After prelim- inary studies with his mother and several local teachers, Falla entered the Madrid Conservatory. There he was profoundly influenced by two teachers, the composer Felipe Pedrell and the pianist José Tragó. He graduated from the Conservatory with highest honors and in 1905 won first prize for La Vida Breve, in a competition among Spanish composers sponsored by the Academy of Fine Arts in Madrid. He visited in 1907 and was so intoxicated by its musical life that he spent the next seven years in that grand city. There – 2 – he met Debussy, Dukas, Ravel, Fauré, Satie, Schmitt and Roussel. Upon his return to Spain in 1914 he embarked on an extensive tour, eventually settling in Granada. He composed El Amor Brujo in 1915, and one year later, the Nights in the Gardens of Spain. As a result of a commission by Serge Diaghilev, Falla composed “The Three Cornered Hat,” which became one of the most successful ballets pro- duced by the Ballet Russe. During the Spanish Civil War, Falla, who was intensely religious, allied himself with the Franco forces. He saw in the nationalist movement a balance to the anti-religious activities that had been taking place throughout Spain. However, support eventually gave way to disenchantment, and Falla, in ail- ing health, chose to expatriate himself. Falla died in Alta Garcia, in the province of Córdoba, Argentina, on November 14, 1946. The Danza del molinero (“Miller’s Dance”) is one of Falla’s most enchanting and popular pieces. It is the sixth section of the ballet El sombrero de tres picos (“The Three Cornered Hat”). The story for this ballet is a simple one. A young miller’s wife attracts the lusty attentions of the local Governor, who, in order to assure the suc- cess of his advances, jails the miller. The miller’s wife entices the Governor with a seductive dance to a nearby bridge where due to his excitement he tumbles into the water. Surviving the fall he goes to the miller’s house to dry himself and taking off his clothes he makes himself at home in the miller’s bed. To revenge himself, the freed miller steals the Governor’s clothes. The Miller’s Dance is a fiery farrucca (a Spanish flamenco dance of gypsy origin). Falla’s ballet was first performed at the Alhambra Theatre in London on July 22, 1919 with choreography by Leonide Massine. The curtain, scenery, and costumes of the Russian Ballet’s production were all designed by none other than Picasso. Manuel de Falla composed El Amor Brujo in 1915 for a gypsy singer and dancer named Pastora Imperio, whose mother had told the librettist, Martínez Sierra, the story on which he built his scenario. It is the story of Candelas, a gypsy girl of pas- sionate propensities, who was once in love with an evil but irresistible man who died a violent death. Her new lover, named Carmelo, is much more worthy of her love. But Candelas is superstitious, and every time Carmelo draws near she feels the ghostly presence of her departed lover and shrinks away in fear and trembling. Carmelo, who knew the dead man, reasons that the specter must be attacked at its weakest point. The dead man had been jealous, but he had also been unfaithful. – 3 – Ingeniously, then, Carmelo induces a pretty acquaintance of Candelas’, whose name is Lucia, to make advances to the apparition when it next appears. The ruse works. In the few minutes that the ghost’s attentions are thus directed, Carmelo takes Candelas in his arms — the spell is broken — life triumphs over death. The Ritual Fire Dance is actually titled Ritual Dance of Fire for the Exorcism of Evil Spirits. It is one Falla’s most astonishing and popular musical creations, evoking a smoking cauldron and demonic incantations.

Isaac Albéniz (1860-1909) n2 Malagueña from España, Opus 165 n3 Castilla (Seguidillas) from Suite española, Opus 47 n5 Triana from Iberia, Book 2

Isaac Albéniz began his career as a touring virtuoso pianist. Appearing on the Isaac Albéniz concert platform at the age of four, his early life was highly colorful and adven- turous. After being refused admittance to the Paris Conservatory on the grounds that he was much too young, he ran away from home at the age of nine. He gave con- certs all over Spain, earning enough money to travel to the New World. After working his way from Cuba to San Francisco playing the piano, he eventually returned to Europe when he was thirteen. Studies in England and Germany pre- ceded his return to Spain where he received a Royal grant to continue his travels. A few years later he gave up his life as a touring piano virtuoso, though not before he had concertized once again throughout the Americas. He then went to Paris to – 4 – study with Dukas, Debussy and d’Indy. He also met Franz Liszt, and toured briefly with Anton Rubinstein. When Albéniz abandoned his role of wandering virtuoso, he dedicated the rest of his life to composition. In 1899, his first and most important orchestral work appeared, , a rhapsody celebrating the place of his birth. Two years later he composed his masterpiece, Iberia. His remaining years were spent in France, where he died eleven days before his forty-ninth birthday (1909). The Malagueña is a type of fandango from Málaga, in southern Spain. It’s a live- ly dance in triple time to the accompaniment of castanets or tambourine. It was published in a collection of six pieces entitled, España, Opus 165. Castilla, is Albéniz’s evocation of dance music from the province of Castile. He subtitles the piece seguidillas — a dance in which the dancers “freeze” at the end of each stro- phe (or copla) while the musicians introduce the next phrase. Although this Castilla was published as part of Albéniz’s first Suite española, Opus 47, he also published it as the concluding Seguidillas of his collection, Cantos de España, Opus 232. One of the most enchanting sketches from Albéniz’s masterpiece, Iberia, is Triana. Triana is the ancient quarter of Seville which lies just across the river. Despite its imperial name — Triana was named for the Roman Emperor Trajan whose birthplace is near- by — it has been for many years the gathering place of Gypsies, bullfighters, ped- lars, strolling players, and other picturesque characters who live by their wits. The people of Triana are very gregarious and seem to spend their lives laughing, gossip- ing, bargaining, and quarreling in the streets. It is this colorful, irresponsible life that Albéniz pictured in his music.

– 5 – (1862-1918) n4 Reflets dans l’eau (“Reflections in the Water”) from Images, Set I n9 Les collines d’Anacapri (“Hills of Anacapri”) from Préludes, Book I n11 Clair de lune (“Moonlight”) from Suite bergamasque n13 Poissons d’or (“Goldfish”) from Images, Set II

To Debussy music was always a mys- tery, something intimate and personal to be offered and accepted with delicacy. “The soul of another is a dim forest where one should walk with cautious steps,” he once remarked, sounding the keynote of his own intense love of freedom. It was not a flaunting freedom nor physical iso- lation he craved, but a sort of soul priva- cy which gave him his “ivory tower” in the midst of busy streets. He would have Claude Debussy been the last man in the world to have forced his music on unwilling ears or spread his dream pictures before eyes that could see only posters! Historians usually classify Debussy as an Impressionist. Debussy himself argued that the term could be rightly applied only to the art of painting, where it originated. Quibbling over a word, however, cannot alter the fact of the striking resemblance in subject, purpose, and method of Debussy’s music and the work of the Impressionist painters and Symbolist poets whose philosophies he shared. When Debussy published his first set of Images in 1905, he wrote to the pub- lisher: “I think I may say without undue pride, that I believe these three pieces will live and will take their place in piano literature… either to the left of Schubert… or the right of Chopin…” According to biographer Oscar Thompson, Reflets dans – 6 – l’eau (“Reflections in the Water”) is one of the most perfect examples of Impressionism in music. He writes: “The first floating chords establish a mood that is highly suggestive. Luminous chords and skimming arpeggios are used in succes- sions that yield a drowsy, flickering effect, as of inverted images in a pool. The basic theme is a slow, trailing one, mirrored, in the course of its transformation, in what may be described as harmonic reflections.” Debussy referred to this music as embodying “the newest discoveries in harmonic chemistry.” Les Collines d’Anacapri (“Hills of Anacapri”) appears in Book I of Debussy’s Préludes, published in 1910. According to pianist Marguerite Long, “In this memory of an Italian journey, light and movement are in opposition to each other. A network of tarantellas surrounds the Bay of Naples, its villas and its grottoes. In the midst of frenzied dancing a disapproving note is heard from the convent bells. But a popu- lar song, simple, indolent and amorous, supervenes. With an imperceptible gesture, with a single displacement of an acciaccatura (‘crushing-in’ of two notes, when the principal note retains its accent and practically all its time-value) all the ardor, ten- derness and audacity of a Neapolitan gamin (‘street urchin’) is suggested.” Clair de lune (“Moonlight”) is spellbinding music. The composer, like a blissfully unconscious sleepwalker, follows his dream and takes the listener with him into an invisible world. Clair de lune is one of the four pieces which make up Suite berga- masque (1890-1905), written when Debussy was much intrigued by the Symbolist poets. Italian musicologist, Guido Gatti, writes: “What an airy flowering of arpeg- gios ascends the keyboard, to leap up again like a fountain jet which scatters its water on the air, then relapses into calm again in solid tonic and dominant undula- tions, on which the theme spreads out, ample, sonorous, expressive.” This is beau- tiful, emotional, pellucid music, where Debussy revels in the luscious, often “float- ing” tone. Debussy published his second set of Images in 1907. The final piece is Poissons d’or (“Goldfish”). According to biographer Léon Vallas, this music was inspired by the contemplation of a piece of oriental lacquer in Debussy’s possession. “Thus viewed,” writes Oscar Thompson, “the music is less a description of actual goldfish swimming in a pool than it is a reflection of Debussy’s love of Japanese objets d’art. But it has the flash of sunlight on water and the gleam of moving fins, rather than any suggestions of static contemplation of line and color.” – 7 – (1867-1916) n7 Andaluza (Playera) (Danza española No.5) from Doce danzas españolas, Opus 37 n14 Quejas, o la maja y el ruiseñor “Complaints, or the Maiden and the Nightingale”) from Goyescas

Enrique Granados was born in 1867, the son of an officer in the Spanish army. He was a gifted child, and his parents were proud to foster his music. Like his famous compatriots, Albéniz and Falla, Granados studied with Felipe Pedrell. When he was twenty years old, Granados went to Paris in the hope of studying at the Conservatory, but typhoid fever pre- vented him from taking the necessary entrance examinations. Although, he was never admitted into the Conservatory, Granados remained in Paris for two years. Upon returning to Spain he began a career as a pianist. His success as a trav- Enrique Granados elling virtuoso did not deter him from composing. He produced some of his most enduring piano works, which included the four volumes of Spanish Dances and the remarkable set of six pieces, entitled Goyescas. From these piano pieces, Granados composed an opera which received its first performance at the Metropolitan Opera in New York on January 28, 1916. Despite the war, Granados came to the United States to attend the premiere. An invitation to play for President Wilson at the White House proved fatal to Granados. Delaying his return to Europe by a week in order to honor this engagement, Granados was traveling aboard the Sussex, when the Germans torpedoed and sunk it on March 24, 1916. The Doce danzas españolas were composed between 1892 and 1900. These – 8 – exquisite pieces were greatly admired by Jules Massenet, Camille Saint-Saëns and Edvard Grieg. The fifth in the set is entitled Andaluza. This music with its vigorous changing rhythms, sudden outbursts, and languid melodies, evoking sunny Andalusia, is the expression of a southern people in whom strong emotions and indolence are strangely mingled. In his masterpiece, Goyescas, Granados sought to evoke the spirit of the Madrid which Spanish painter and printmaker, Francisco Goya (1746-1828) knew and depicted. It was the Madrid of the late eighteenth cen- tury with its picturesque majas and majos (coquettes and mashers), a Madrid of romantic patios, grilled windows, and gardens sweet with scent and nightingale song. The suite of six pieces was completed in 1911. The fourth piece is entitled Quejas, o la maja y el ruiseñor (“Laments, or the Maiden and the Nightingale”). It is one of Granados’ most luxurious melodic inspirations. The maja sings and the nightingale answers with trills. The work is full of passion and tension. Lyricism abounds. Granados writes in the score: “Con celos de mujer; no con tristeza de viuda” (“With a woman’s jealousy, not with a widow’s sorrow”).

Moritz Moszkowski (1854-1925) n8 Caprice espagnole, Opus 37

Moritz Moszkowski was born in Breslau. He began music studies in Dresden, eventually moving to Berlin to continue his education with Kullak and Wüerst. He was an extraordinary pianist who toured extensively throughout Europe. His debut in Berlin at the age of 19 was sensational, prompting Franz Liszt to write admir- ingly of him. Frederick Kitchener witnessed one of Moszkowski’s recitals in England. He related that “the playing of Moszkowski was beautiful; there was no attempt to astonish… a musician, not an acrobat was at the piano.” According to Emil Liebling, “considered as a pianist, Moszkowski is hors de concours… Everything was done musically and with the utmost ease.” Highly influential as a teacher, Moszkowski taught at the Kullak Conservatory in Berlin and later in Paris. Many Americans flocked to Europe to study with him. Illustrious pianists such as Josef Hofmann were among his pupils. For a figure of such professional stature, his personal life in later years was less fortunate. After an unsuccessful marriage to pianist Cecile Chaminade’s sister, Georgette, Moszkowski moved to Paris with his two – 9 – children (a daughter who died shortly after their arrival to Paris, and a son). Through some unfortunate carelessness Moritz Moszkowski lost the copyrights to his compositions during World War I, and eventually died from a painful throat ill- ness in near poverty on March 4, 1925 in Paris. Today, Moszkowski is best remem- bered for a few delightful piano pieces — the Etudes, Opus 72, Etincelles (“Sparks”), Opus 36, No.6 (popularized by Hofmann and Horowitz), and his Spanish Dances for piano 4-hands, Opus 12. He also composed operas, ballets, orchestral suites, songs, concertos, and chamber music — many of which remain forgot- ten. No proper re-assessment of Moszkowski’s compositions has taken place nor has anyone written a biography of this once influential teacher, pianist and composer. Most writers on music continue to repeat the pejorative term Moritz Moszkowski “salon composer” when commenting on Moszkowski. How unfortunate. Much of Moszkowski’s music is written for the piano. These works are generally miniatures, always well-crafted and pianistic. His early song cycles demonstrate an affinity for the voice and are written in a powerful Brahmsian mode. The orchestral suites show Moszkowski to be a brilliant orchestrator having a powerful grasp of polyphony. The operas and ballets evidence a keen understanding of theatrical music and have been performed all over the world. The piano and violin concertos are brilliant showpieces, full of delicious melodies. Yet, despite all this musical evidence, Moszkowski is not accorded much attention and is often considered a – 10 – footnote in musical history. One of his most effective piano compositions was the Caprice espagnole, Opus 37. A bril- liant work in Spanish style, full of deli- cious Spanish rhythm and a constant play of light and shade, this neglected and dif- ficult showpiece was a favorite of many legendary pianists, including Josef Hofmann and Wilhelm Backhaus.

Federico Mompou (1893-1987) n10 Canción y Danza No.8

Federico Mompou was born in . He began music studies at an early age and then entered the Barcelona Conservatory where his primary teacher was Pedro Serra. In 1911 he went to Paris, where he studied with Isidore Philipp, Ferdinand Motte-Lacroix, and Marcel Samuel Rousseau. During World War I, Mompou remained in Barcelona and devoted his time primarily to composi- tion. But the spell of France was too irre- Federico Mompou sistible. He returned to Paris in 1921, remaining there until 1941. From 1941 until his death in 1987, Mompou resided in Barcelona, where he continued to compose and where he also recorded most of his piano works. In the 1950’s Gerard Michel wrote the following profile of the composer: “Mompou caresses the black and white keys with his ardent and deli- cate fingers, and from then on nobody can resist the spell. A magician who bans all ostentatious effects, he makes a discovery out of the merest trifles. The subjec- tivity itself is such that technique no longer seems to exist.” All Federico Mompou’s piano pieces explain his thought when he said: “I am not a musician, but I should – 11 – very much like to be music itself.” From 1921 to 1979 Mompou composed four- teen Canciones y Danzas with the aesthe- tic purpose of creating a musical contrast between lyricism and rhythm. Sadness and nostalgia are contrasted with a bril- liant dance. Composed in 1946, the Cancion y Danza No.8 tells the melan- choly story (in the form of a slow waltz) of “El testament d’Amèlia” with the Catalan grace and elegance of “La filadora.” The work is dedicated to the pianist Ricardo Viñes.

Maurice Ravel (1875-1937) n12 Jeux d’eau (“Play of Water”) n15 Alborada del gracioso (“The Morning Serenade of a Delicate Buffoon”) from Miroirs

In an interview published a few years before his death in 1937, Maurice Ravel spoke about himself: “I am not a “modern Maurice Ravel composer” in the strictest sense of the term, because my music, far from being “revolution,” is rather “evolution.” Although I have always been open-minded to new ideas in music I have never attempted to over-throw the accepted rules of harmony and composition. On the contrary, I have always drawn liberally from the masters for my inspiration (I have never ceased studying Mozart!), and my music, for the most part, is built upon traditions and is an outgrowth of the past. I am not a “modern com- poser” with a flair for writing radical harmonies and disjointed counterpoint because I have never been a slave to any one style of composition. Nor have I ever allied myself with any particular school of music. I have always felt that a composer should put on – 12 – paper what he feels and how he feels it — irrespective of what the current style of composition may be. Great music, I have always felt, must always come from the heart. Any music created by technique and brains alone is not worth the paper it is written on.” In 1901 Ravel created one of his most admired piano works — Jeux d’eau (“Play of Water”). In his autobiography he wrote: “The Jeux d’eau, stands as the point of departure for all new pianistic expressions one may find in my works. This work, inspired by the bubbling of water and the musical sounds of fountains, waterfalls, and brooks, is built on two themes in the manner of the first movement of a sonata, without, however, being subjugated to the classic tonal formula.” The score provides a quote from Henri de Régnier: “The river god laughing at the water that tickles him.” Ravel dedicated the piece to his “beloved master Gabriel Fauré.” Benno Moiseiwitsch, who performed this work often and was one of the first pianists to record it, perhaps described it best: “Glittering drops falling — now singly, now in iridescent groups, the water flowing, leaping and laughing in merry play, molding and remolding itself into a hundred shapes, with a hundred changes of light and color.” The five pieces that make up the set Miroirs are all inspired by some sort of external image or impressions “mirrored” in sound. Ravel composed Miroirs in 1905. The fourth work in the set is entitled Alborada del gracioso (“The Morning Serenade of a Delicate Buffoon”). Dedicated to musicologist M. D. Calvocoressi, this piece is one of Ravel’s most brilliant creations. The composition is a vivid musi- cal portrait of a Spanish dandy (one biographer called him a sort of “Andalucian Petrushka”!) in which may be heard his morning serenade and the metallic strokes on the guitar and the dry, determined crackling of castanets accenting brief halts in the rhythm. It is a pianistic tour de force that includes glissandi in fourths and thirds, long series of repeated notes, and difficult staccato passages.

— Marina and Victor Ledin, © 1998

– 13 – Earl Wild Biography Earl Wild is a pianist in the grand Romantic tradition. His legendary career, so distinguished and long, has continued for over 70 years. Born in 1915, in Pittsburgh, Pennsylvania, Earl Wild’s technical accomplishments are often likened to what those of Liszt himself must have had. Born with absolute pitch he started playing the piano at three. Having studied with great pianists such as Egon Petri, his lineage can be traced back to Scharwenka, Busoni, Ravel, d’Albert and Liszt himself. Earl Wild’s career is dotted with musical legends. As a young pianist he was soloist with Arturo Toscanini and the NBC Symphony. Since then he has performed with virtually every major conductor and symphony orchestra in the world. Rachmaninov was a friend and an important idol in his life. It’s been said of Earl Wild, “He’s the incarnation of Rachmaninov, Lehvinne and Rosenthal rolled into one!” In 1986 after hearing him play three sold-out Carnegie Hall concerts, devot- ed to Liszt, honoring the centenary of that composer’s death, one critic said, “I find it impossible to believe that he played those millions of notes with 70-year-old fin- gers, so fresh-sounding and precise were they. Perhaps he has a worn-out set up in his attic, a la Oscar Wilde’s Picture of Dorian Gray.” He’s one of the few American pianists to have achieved international and domestic celebrity. He has performed for six Presidents of the United States, and in 1939, was the first classical pianist to give a recital on the new medium of television. At fourteen he was performing in the Pittsburgh Symphony with Otto Klemperer as well as working at radio station KDKA, where he played many of his own compositions. As a virtuoso pianist, composer, transcriber, conductor, editor and teacher, Mr. Wild continues in the style of the legendary great artists of the past. This eminent pianist has built an extensive repertoire over the years, which includes both the standard and modern literature. He has become world renown in particular for his brilliant performances of the virtuoso Romantic works. Today at 83, Mr. Wild continues to record and perform concerts throughout the world. In 1997, he won a Grammy® Award for his disc, “The Romantic Master” – thirteen piano transcriptions (nine of his own). When he was 79, he recorded a critically – 14 – acclaimed Beethoven disc which included the very difficult Hammerklavier Sonata, as well as a disc of the Rachmaninov Preludes. As an Ivory Classics™ artist, his immediate plans are to record three 20th century piano sonatas by well known composers as well as a sonata of his own.

Credits Tracks n1, n2 , n3 , n5 , n6 , n7 , n8 , n10 , n14 and n15 recorded in New York City, October 12, 1965 Tracks n4, n9, n12 and n13 recorded in London, April 1968 Track n11 recorded in London, October 14, 1964 All tracks under license from Reader’s Digest Music, A Division of the Reader’s Digest Association, Inc. Remastering Producer: Michael Rolland Davis High resolution digital remastering: Ed Thompson and Glenn Meadows at Masterfonics, Nashville ® encoding provided by Doug Beard and Tom Jenny of Data CD, Inc. Liner Notes: Marina and Victor Ledin Design: Communication Graphics Inside Tray Photo: Earl Wild with ‘Lotus,’ an optical glass sculpture by Christopher Ries (Photo by Kevin Fitsimmons)

To place an order or to be included on mailing list: Ivory Classics™ P.O. Box 341068 • Columbus, Ohio 43234-1068 Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799 [email protected] • Website: http://www.IvoryClassics.com – 15 – Music by Albéniz, Debussy, Falla, Granados, Mompou, Moszkowski and Ravel

1 Falla: Danza del molinero 9 Debussy: Les collines d’Anacapri (“Miller’s(“Miller’s Dance”)Dance”) fromfrom El sombrero de tres (“Hills(“Hills ofof Anacapri”)Anacapri”) fromfrom Préludes, Book I 2:55 picos (“Three Cornered Hat”) 2:20 picos (“Three Cornered Hat”) 2:20 10 Mompou: Canción y Danza No.8 (1946)(1946) 3:35 3:35 2 Albéniz: Malagueña from España, Opus 165 4:00 Albéniz: Malagueña from España, Opus 165 4:00 11 Debussy: Clair de lune fromfrom Suite bergamasque 4:30 3 Albéniz: Castilla (Seguidillas) from Suite Albéniz: Castilla (Seguidillas) from Suite 12 Ravel: JeuxJeux d’eaud’eau (1901)(1901) 5:00 5:00 española, Opus 47 3:00 13 Debussy: Poissons d’or fromfrom Images,Images, 4 Debussy: Reflets dans l’eau from Images, Debussy: Reflets dans l’eau from Images, Set II (1907) 3:25 Set I (1905) 5:10 14 Granados: Quejas, o la maja y el ruiseñor 5 Albéniz: Triana from Iberia, Book 2 5:11 Albéniz: Triana from Iberia, Book 2 5:11 (“Laments,(“Laments, oror thethe MaidenMaiden andand thethe Nightingale”)Nightingale”) 6 Falla: Danza ritual del fuego (“Ritual(“Ritual FireFire fromfrom Goyescas (1911)(1911) 7:01 7:01 Dance”) from El amor brujo 3:41 Dance”) from El amor brujo 3:41 15 Ravel: Alborada del gracioso fromfrom 7 Granados: Andaluza (Playera(Playera –– DanzaDanza españolaespañola Miroirs (1905)(1905) 6:30 6:30 No.5), fromfrom Doce danzas españolas, Opus 37 3:35 8 Moszkowski: Caprice espagnole, Opus 37 5:52 Total Playing Time: 67:15

Remastering Producer: Michael Rolland Davis Remastering Engineer: Ed Thompson All tracks under license from Reader’s Digest Music, A Division of The Reader’s Digest Association, Inc.

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