The Third Piece

Juan Cristobal Tapia de Veer, also known as Cristo, is a Chilean-born Canadian film and television score composer, arranger, producer and multi-instrumentalist based in Montreal, Quebec, Canada. He is mostly known for his music to the British TV series Utopia, for which he won an RTS Craft & Design Award in the best original score category in 2013 as well as Channel 4's highly acclaimed National Treasure, which earned him a BAFTA in 2017.

The Concerto for Group and Orchestra is a concerto composed by Jon Lord, with lyrics written by Ian Gillan. It was first performed by Deep Purple and The Royal Philharmonic Orchestra conducted by Malcolm Arnold on 24 September 1969 and released on vinyl in December 1969. The 1969 performance was the first ever combination of rock music and a complete orchestra and paved the way for other rock/orchestra performances such as Metallica's S&M concert and Roger Waters's The Wall – Live in Berlin performance. In 2002 EMI released special edition SACD and 2-CD sets of Concerto for Group and Orchestra, featuring the entire program of music played that night.

The larger-than-life journey of an 18-year-old college freshman who set out from his dorm room to track down Bill Gates, Lady Gaga, and dozens more of the world's most successful people to uncover how they broke through and launched their careers.

In the latest fruit of a brilliant career, Michael Nagler argues that nonviolence—not just as a tactic but as a way of being—is the only way to unite deeply divided people and enable progressive movements and leaders of all stripes to fulfil their promise and potential.

Jean Françaix: a quintessentially French composer following in the tradition of Saint-Saëns, Poulenc and Satie; composer of some one-hundred-and-fifty works; and virtuoso pianist in his own right. The four works on this recording were composed between 1942 (the Divertissement—very much a 'distraction' during the Nazi Occupation of France) and 1977 (the Clarinet Quintet). All four share a high degree of compositional mastery, but this is always embedded within an air of grace, of profound charm, and of wit. It is perhaps this sense of humour which has so endeared Françaix's music to generations of musicians and music-lovers. But despite the facts that L'heure du berger was composed in honour of a Parisian restaurant who were to use it as 'background' music, that Françaix self-deprecatingly passed off A huit as a 'stop-gap to fill a programme' for the Vienna Octet, and that the Divertissement contains unashamedly blatant musical jokes, these compositions are unmistakably the work of an expert, a distinctively 'Gallic' artist.

A number of years ago, Harriet Sheridan, then Dean of Brown University, organized a series oflectures in which individual faculty members described how it came about that they entered their various fields. I was invited to participate in this series and found in the invitation an opportunity to recall events going back to my early teens.