![]() As far as I could tell, she loved all music, at least all European concert music. She never burdened her students with her personal musical likes and dislikes. Her passion and enthusiasm for music and for teaching music was boundless. I was fortunate to have a professor then who was an absolutely lovely person who related beautifully with her students. My first real exposure to it came while I was in college. In the 1960s and 1970s, I had heard very little European concert music. Indeed, my tastes are continuing to be shaped by what I am listening to now. This leads us to the inevitable question of: why does a given person like, or dislike, a given piece of music? (I will save the discussion of what music is (or what is music) for another day.) As this question applies to me, I can say that as a person who came to music over the last half of the Twentieth Century and the early decades of the Twenty-first Century (it is an ongoing process), I have had my tastes shaped by what I was able to listen to at various points during that span of time. Musically speaking, we all have our likes and dislikes. That does not mean that a lot of sublimely beautiful music was not composed before 1850, because it most certainly was. But as someone who listens to a lot of so-called “classical” music, I find that for whatever reasons, my tastes run more in the direction of composers who lived and worked after 1850. Their permanent place in the world of music was assured long before I was born. McMickle, first trumpet Rubin “Zeke” Zarchy, John Best, and Billy May, trumpets Paul Tanner, Jimmy Priddy and Frankie D’Annolfo, trombones Lloyd “Skip” Martin, first alto saxophone Wilbur Schwartz, alto saxophone and clarinet Al Klink and Gordon “Tex” Beneke, tenor saxophones Ernesto “Ernie” Caceres, baritone saxophone John Chalmers “Chummy” MacGregor, piano Bobby Hackett, guitar Doc Goldberg, bass Maurice “Moe” Purtill, drums.ĭon’t get me wrong, I have no beef with Beethoven, or Mozart or Bach. Glenn Miller, first trombone directing: R.D. Recorded by Glenn Miller and His Orchestra for RCA Bluebird on November 24,1941 in New York. Composed by Ludwig von Beethoven arranged by Bill Finegan.
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