(gentle orchestral music) - [Mark] Santa Fe is a fascinating mosaic.

The special quality is probably inherent in the land itself, but what makes it so palpable is the culture that has been here for thousand of years.

That changes everything.

- [Jennifer F.] In that setting where you see the sunset and you know the vista is where you see storms coming in across the horizon.

It's just incredible.

- [Leila] I love the color of the earth, the browns and reds, the light, the mountains.

(determined music) - [Tara] You have this enormity of space above you, but also then there's just this beautiful earth and there's this smell of juniper in the air.

Then you put a chamber music festival in this beautiful place with world-class chamber music musicians playing together.

You get incredible creativity.

(dramatic music) - [Kirill] It is quite magical to come here to make music, being surrounded and inspired and nourished.

- [Carol] It's this very small kind of little gem in the middle of this wildness.

(bright music) (bright music continues) - [Gilles] When I'm here, I naturally think of my music making as just kind of extension of nature.

(dramatic music continues) - [Kirill] Get to go and play music that is product of some of the most amazing human minds that have lived.

This is own magical thing and you know, when you hear certain rhythms and certain harmonies, they do seem to affect us on a certain kind of basic neurological level.

(bright music) (bright music continues) (bright music continues) - [Leigh] The level of their artistry, virtuosity.

It's just some of the finest musicians in the world come here and that's an amazing privilege to be able to play with them.

(woman singing in foreign language) - [Todd] Chamber music is really the thing where you have to be with all these people and make something magical happen.

In sometimes only a few days, the rehearsal periods are quite short between when you begin a piece to rehearse it and when you perform it here.

Is it true 'Tis so Is it true, so (frenzied music) The amount of repertoire that's covered in the length of the Santa Fe Chamber Music Festival is extraordinary.

The depth of the artists, the extremely high quality of musicianship and personalities.

[John] You were almost with her now on the Bom, bom - [Tony] Yeah.

- [John] No, you were great.

You were great.

- [Musician] Can we cover 159 in the third song please?

- [John] 159.

- [Musician] Yes.

Thank you.

Yeah, let's start from 156.

Okay.

(Tony singing) (pensive orchestral music) Perhaps a rose so sweet, want - [Leigh] Things come together so quickly.

There's never been a situation that I've played in that the standard is any less than just excellent.

(frenzied music) Is it true 'Tis so Is it true, so - [Gilles] That's a very dynamic experience because the variables of the other human beings that you're around and rehearsing with and working and how they react on stage, even.

(dramatic harpsichord music) (bright string music) (dramatic harpsichord music) (bright string music) Just do it together.

- [Gilles] So there's always your tendencies.

And then how much are you aware of those?

Do you go with them?

Do you fight them a little bit?

You know, that dynamic is always interesting.

(bright string music) - [Tara] You're such an idiot.

(group laughs) - [Daniel] Were we?

Were you indicating we were getting ahead of him?

- [Tara] A little bit.

It just, it just- - [Gilles] I could- generally ou as we go through the piece slightly, like from our opening and that's okay.

But it just, when I get to- (bright harpsichord music) Yeah yeah, it's good if we're not.

It's slightly.

(bright string music) - [Kirill] The repertoire is very adventurous here.

So it's not only sort of the international standard fair, but things that truly deviate from the standard fair but needs to be heard.

(pensive string music) - [Gilles] Something that sets Santa FeChamber Music Festival apart is its fearlessness in its programming.

There's a real courage here in putting on things that challenge the audience, the musicians, and there's a real sense of palpable excitement and a sense of risk taking.

(pensive string music) - [Marc] The way I see my responsibility in being the captain of this festival is to chart a course where I feel that I'm providing an exquisite window into a musical culture, which is half a millennium of incredibly sensitive, wise creators.

(pensive string music) - [Tara] There's a wide range of programming that is beautifully received by the audience here, because the audience knows Marc.

Everybody trusts Marc, everybody trusts his vision.

- [Alan] Marc is a full musician and he's of course, a wonderful, important, distinguished composer, but also is a important pianist who has performed for many, many years on all the greatest world stages.

And he has an encyclopedic knowledge of the chamber music repertoire.

And it's really about trust.

He makes combinations that are daring and unexpected and he presents new music.

It's one thing to believe in contemporary music.

It's another thing to actually be one of the important producers of music.

- [Christopher] I think he just carries around in his head and stirs such a huge cauldron of possibilities.

- [Brett] Marc has an incredible knowledge of repertoire and I mean, he's also a great cook.

He approaches the programs very much like he approaches cooking.

It's about getting the ingredients right.

He has also a wonderful feel for where to place new pieces so that they speak to audiences, so that they sing with the other pieces that are on the program.

They're thought-provoking, you know, they're great combinations of pieces.

That's always just a pleasure to behold.

- [Eric] And that's one of the reasons this is one of my favorite festivals to play in is 'cause he knows how to match people, he knows how to match repertoire and that's an art form to be able to do that.

And that's what this festival brings.

(dramatic music) - [Todd] He put these groups together and then when I look at the paper and I'm thinking about all the people that he put together and I'm like, yeah, he really thought about that one.

That's like a really good combination of people for that piece, it's like perfect.

(happy music) (happy music continues) - [Marc] In the beginning, it was a couple of weekends, I mean literally half a dozen concerts with about half a dozen people.

That expanded and became something which required more financing.

They got to the iconic artist, Georgia O'Keeffe.

Georgia O'Keeffe happened to love classical music.

They managed to get her to support the festival through posters.

That was a time when posters were huge.

Everybody bought posters.

She would donate an image and they became rather ubiquitous.

Apparently there was one summer where they actually sold 150,000 posters.

That was the support of the festival.

- [Daniel] So in appreciation every year the festival would do a concert for her.

She always dressed in her black outfit and looked very regal.

So we went over to her place and I chose to play a solo Bach piece.

So I went right by her feet and played from memory the whole 20 minute Bach piece.

And then she pulled me close to her and she said, "Thank you."

That was amazing.

(bright music) - [Marc] When it fell on me, this chamber music festival, I decided to continue that tradition.

Our program cover is artwork by local Native American artists (bright music) - [Alan] I do think that a successful musical performance is a real picture of how the world should work.

- [Milena] Right there I was thinking that we would be play (indistinct) the 8th, that first- (bright string strumming) - [Bryan] That's a nice and toney sound.

(string plucking) - [Alan] People get along.

It's about working out differences and about coming to anagreement, coming to a consensus.

And people have differences of opinion, but still, you have to try to create a consensus.

That's what rehearsals are for.

(dramatic music) (performer laughs) - [Paul] You don't look silly at all.

No, no, no.

You don't look silly at all.

Get off your horse.

- [Leila] How are you?

- [Paul] Okay.

How are you doing?

- [Leila] This was just so wonderful to arrive here and know that I get to play with friends who I've known for years.

- [Paul] How are you doing?

- [Leila] I'm good.

Good to see you.

- [Leila] Paul Watkins is a very, very old friend of mine.

and it feels like no time passes, you're just back playing together again.

Nice to meet you.

- [Brett] A festival is a very particular dynamic because you come together in many cases, never having met before and you have a sort of short, intense time together.

So you've got a couple of days to get to know one another and put it together.

And that brings with it this immediacy, this spontaneity, particularly with the level of players that come to Santa Fe.

- [Paul] Sorry, it couldn't come I was getting the cello fixed.

And I'm very fortunate to have an old Venetian cello from the 1730s.

You know, it's not happy all every day.

(laughs) The lack of humidity that can sometimes cause older instruments to buzz and complain at you a little bit.

And my cello for the first two or three days in Santa Fe started complaining.

(laughs) So luckily there's an amazing luthier down in Albuquerque.

So I took it down there and it was a little bit like an episode of "E.R."

that they put it on a desk and they put an endoscope into it so they can have a little look around inside.

They put this camera inside it.

I've got a picture of them doing it.

- [Leila] Wow.

- [Paul] So they can see where the problem is.

But they haven't got time to fix it.

'Cause it takes days.

- [Carol] Wow.

- [Leila] Days?

- [Paul] Yeah.

- [Leila] So what are you gonna do?

- [Paul] It's still- it's fine.

It's all right.

- [Leila] Oh.

- [Paul] It's just if I pluck the open C it goes (buzzes) a bit.

But it's not that bad.

- [Carol] It's cracked.

- [Leila] Uh oh!

- [Carol] I'm fixing it Well not fixing it, but putting nail varnish on it.

It cracked just before I left this morning.

- [Leila] Oh no.

- [Carol] But I have a spare.

- [Leila] Yeah.

Oh my gosh.

Wow.

Casualties, casualties.

- [Carol] I was putting the clarinet away to come over for the first rehearsal and as I'm putting the clarinet away I can feel there's a crack in the clarinet and my heart just sank.

I said, "Oh my God."

Before the first rehearsal, and it was a big crack.

So that was nerve-wracking.

Luckily I have a spare.

I had been advised to put some clear nail varnish into the crack to try to hold it together.

You know, this is the first time in my life I've ever traveled with a spare clarinet.

- [Paul] Right.

- [Kirill] Hey.

- [Carol] How are you?

- [Kirill] I'm wonderful.

With American canceling four out flights yesterday, that didn't fly.

- [Carol] You're not serious.

- [Kirill] So I'm just about to finish.

- [Carol] Oh my God.

Take your time.

(instruments tuning) I'm flat (musicians laugh) (bright music) (bright music continues) - [Marc] This is now one of the most sophisticated audiences anywhere in the world.

The musicians that come and they're global, they're superstars, all remark about this audience.

(happy harp music) (happy harp music continues) (bright music) And I want to find a way where an audience is always comfortable having something they're familiar with.

And at the same time, being open to the expanse of what this music is.

(bright music) (bright music continues) It became known that only the best people play here.

That they love it.

That the audience is magnificent and everything surrounding it is beautiful.

- [Alan] It's impossible not to be inspired.

The atmosphere of the city itself, the landscape, the nature.

- [Tara] It's a spectacular place to be.

It's so beautiful here.

The air, I don't know if you feel it, but I feel it as a wind player, I feel it.

But we are 7,200 feet closer to the sky.

(somber music) (bright music) This flute that I'm playing on now has a really dark quality to it.

I love the smoothness of it, the projection.

(bright music continues) It's a beautiful flute.

The tube is a little bit lighter.

The head joint is the heaviest part.

It's the 19 and a half carat.

And then the keys and tone holes the things that come out of the tube are 14 carat.

the crown at the top has shamrocks on it and I'm Irish, so it's really nice.

I look for this smooth, I don't really want air in my sound.

I want like a just tone.

So I like this flute a lot.

It's a conduit for creativity.

And when I pick up my flute and I put it here, it sits on my chin and I don't see it here.

And I'm not really aware of it here 'cause I have to be looking here So I feel like the flute in a way is truly an extension of the human voice.

(bright music continues) My job is to transcend the mechanics of the instrument and have the composer's voice be heard so that you understand what the composer meant when he or she wrote that music.

That's what we have to do.

(bright music) - [Marc] Every musician at the level that we're speaking about has an almost emotional human relationship with their instruments.

(thoughtful music) But these instruments each have a personality.

(thoughtful music continues) (bright yet pensive music) (bright yet pensive music continues) - [Todd] The clarinet for me just started as a thing I was interested in as a kid.

And I always enjoyed practicing.

I always enjoyed the sound of the instrument.

(pensive music) I pick up the instrument and it sounds like it's a great sounding instrument.

You know, it's like really.

It's a lifelong learning process.

It's a life of independent study basically.

If you ever were in high school and you had a couple periods of high school that you could do what you wanted.

That's basically my life in a certain way.

(dramatic orchestral music) (dramatic orchestral music continues) (dramatic music) (dramatic music continues) - [Carol] I don't think I have a relationship with my clarinet so much.

That's a funny thing.

I always think of the clarinet as a kind of a means to an end in a way.

I love what I can do with it.

(dramatic clarinet music) - [Marc] I envision this as a community where over a period of years and years, their exposure and their knowledge of this music depends entirely on how I present it to them.

(dramatic clarinet music continues) - [Carol] This year I'm playing piece by Karlheinz Stockhausen, German, one of the most famous composers of the 20th century.

And I love that Marc was like, "Let's do this."

(dramatic clarinet music) It's a solo clarinet piece and it's choreographed basically.

Stockhausen himself choreographed it.

So I have to kind of dance and move and the range of emotions of what you have to kind of convey is really, really broad.

Like from very still, very focused to absolutely fury and rage and exuberance.

(dramatic clarinet music continues) (dramatic music) - [Jennifer M.] I love the sound of the french horn.

I love how it has expansiveness.

New Mexico sky, you know, like mountain, kind of grandeur type of thing.

I love that it has that element to it.

It's unpredictable, which is always entertaining and a little embarrassing because the notes are very close together and you control all the notes with your lips.

You have to really make sure that your volume is not overwhelming to everybody else because just one french horn is generally gonna be louder than one violin or one woodwind instrument unless you temper it.

And also the articulation is very different.

I love the artistic nature of it and I love the spiritual nature of it.

The honoring of the heritage and the history.

(pensive music) I guess you sort of, you find each other a little bit and there's always sort of a bit of a hierarchy as to who's queuing what and who's leading what and who's under whom and when do you switch, roles and stuff.

So you kind of, you learn the piece a little bit on your own and then you learn the rest of it together.

And that's kind of the fun thing is sort of how it clicks.

(tense music) It's amazing how much you can sort of change your personal voice if you're playing with a flute or a clarinet versus a cello or a fiddle.

And it's lovely for the soul and it's really fun for the brain.

(bright music) - [Tara] It's not like we're coming in and we're starting from scratch.

Everybody's practiced their parts.

I know exactly what everybody has in the group.

They know what I have and we're just putting it together.

(bright music continues) I would say like 90% is what are they doing and what are they doing?

What am I hearing and how does my part fit into that?

And then when you play chamber music, you need to know when your voice is primary, when you're in a supportive role It's like being in a big family.

You know, you can't all talk at once.

You have to support, but you also have to let everybody have their say.

(dramatic music) - [Jennifer F.] Your reflexes have to be on really high alert because things happen all the time in performances that we haven't rehearsed for.

And then you have to react and be right there.

(dramatic music continues) - [Daniel] You have to have a skill like a sports person and everything that goes with that.

The mindset, the discipline and all that.

Then there's the expressive component.

(pensive music) Then you have to figure out how to cultivate both of them and not get them mixed up.

From here up you have to be cool like a, a great sports person ready to do something difficult.

And below there like a raging maniac baby reacting emotionally without any filter to it.

(pensive music) - [Eric] There's pressure every you pick up the instrument.

If people are listening, paying to hear you play, that should give you some sort of responsibility, right?

So in turn that becomes pressure, but if you didn't feel the pressure, it wouldn't mean anything.

(tense music) - [Kirill] There's of course the expectation from oneself that is constant to try my best at all times.

So there is that expectation and the daily succeeding and failing.

Recently a wonderful conductor said to me, he said, "Fail, fail again, fail better."

(bright music) - [Tara] The primary goal is to what the composer has given you, where it touches not only your heart but your mind.

It makes you think, it may make you cry, it may make you angry, it may make you just elated, but that's the experience of art.

(bright music) - [Jennifer F.] As a performer, when I'm on stage, I'm really in the zone of trying to communicate everything the composer put on the page and trying to express that to the audience.

I'm really trying to focus on that marriage of looking at the details in the score and decoding what the composer was trying to convey.

And so there's a lot of technical details that go into markings and also understanding the structure.

- [Marc] You have a piece of paper with some lines on it and these little black dots and a few words here or there or symbols.

This is an insight with every detail that you need to know exactly where and how and when to play every single sound that comes out of these instruments.

Everything is in the score.

(pensive music) There is of course room for personal interpretation.

(pensive music continues) (dramatic music) - [Eric] My relationship with cello, it's kind of like a marriage actually.

It continually amazes me what it can do.

Obviously as musicians we're sensitive to sound and color and timbre, all of these types of things.

And with a cello, our low string's called a C string and it's got real depth to it.

(thoughtful music) (plaintive music) - [Paul] I love the cello.

I've loved the cello since I was a kid.

My dad wanted me to learn the violin.

I didn't like it, it was awkward.

I just loved the fact that the cello was much bigger than the violin.

You could sit down playing it in the bass notes and just the warmth of sound, the resonance.

(plaintive music) I like to feel the vibration of the wood, the pine, the maple, the ebony of the fingerboard.

I'm definitely what some musicians might disparagingly call a tone junkie, but if the cello isn't making me feel good, then I'm not gonna get the best music out of it.

(frenzied music) (musicians laugh) So I'm gonna do that.

- [Alan] There's a special joy that I get and I think, you know, all instrumentalists get from actually touching the sound, having a kind of palpable, tangible relationship with the actual sound that's happening.

(bright music) (dramatic music) - [Marc] And the piano, the torture of being a concert pianist is you don't bring it with you.

And what you find is your voice for that day.

(bright music) I have always gone to the person I know who has the best pianos in this country and picked for the summer and I've known him long enough that I can get the best one there is.

Still, if I have 10 pianists in the summer, four of them are gonna love it, four of them gonna think it's ok and there's gonna be somebody who thinks, "Ugh, I really don't like this piano."

But that's the nature of the beast.

(piano tuning) - [Bernard] The piano is important, incredibly, and the talent of these players, it's beyond me trying to do my best.

But it's fun.

It's a challenge.

It's a great piano to start with.

So that makes my job a lot easier.

(bright music) - [Kirill] Mostly if I go for concerts, it's to be expected there'll be a piano and each piano differs from another.

(bright music continues) And of course piano is perhaps one of the most independent instruments because it serves up an imitation of solo voices and accompaniment.

You could also say it's a portal into this magic world.

(dramatic music) It's a very strong mirror for your deficiencies, your fears, your discomforts, your strengths and weaknesses and preferences, are on a platter every day.

And there's something also harsh about, going to face the mirror every minute that you play and every note.

(bright music) (dramatic music) - [Gilles] We use all our body actually when we play the piano.

If you want like a nice full sound production we're trained to use big muscle groups to stay relaxed.

(dramatic music) And the harpsichord is incredibly delicate and small muscles around the fingers.

(dramatic music) I really enjoy that.

It feels a little bit like handling very delicate china.

Sense of rhythm is very different because you're a little bit more like a lute player or a sort of a plucked string instrument than a piano is.

I love playing it and I really mean that on a simple, physical level.

(dramatic music) It's been such a big part of my own particular journey and landscape.

(dramatic music) - [Brett] One thing that is very particular about how Marc brings people together is the intergenerational aspect of Santa Fe, of bringing young up and coming artists together with established artist This sense of passing of baton.

- [Musician] I'm following your footsteps.

- [Marc] I love to have composers around.

We do a significant amount of commissioning of composers.

So by taking them on a little excursion, I actually immerse them in the core elements of what this landscape, what this culture means to me.

They have to have a certain sensitivity to not only their surroundings, but life itself.

Because the work of a composer is to reflect one's life.

(bright music) Learning better how to interact with great professional musicians.

What seems to have the greatest impact is that afternoon.

The tower was done by Roxanne and her mother, and we'll go look at the front door because the front door is very interesting.

It's called a keyhole entrance.

This is all based on Chaco Canyon, which is an 11th century site.

So this place is kind of like a mini pueblo because all pueblos have these plazas which are extremely important culturally and traditionally.

(water trickling) - [Tara] If you commission a work by a living composer, you're part of the history of that piece and that lives long beyond you.

And that's a beautiful gift to the art form.

It's a beautiful gift to the future and to future generations of musicians.

- [Leanne] Good morning.

(audience applauds) We at Santa Fe Chamber Music Festival hold a deep belief in the value of music education.

That's why we're here and we will continue to be here for many years to come with our summer and our during the year education programs for youth in music.

(cello music) - [Keith] I'm going with the guy in the hat.

How long did it take to get to know our instruments?

That's a great question.

You guys ask wonderful questions Like I said, I've been doing this since I was five and I'm still getting to, I practice all the time.

I'm always getting to know my instruments, and that's one of the cool things about what we do is you never stop trying to get better.

(dramatic music) - [Christopher] What makes a good conductor?

You often don't know.

And that is because that little stick doesn't make any sound.

In the best of circumstances that little stick or the eyes of a conductor that's holding the stick can create something wonderful where the whole is greater than the sum of the parts.

(dramatic music) - [Alan] Suffice it to say that conducting is a strange, strange pursuit and it's not clear always why one approach works and another doesn't.

(dramatic music continues) But when it's really, really clicking, nobody should have the sense that they're being managed, that they're being pushed, that it really becomes a shared effort.

There are no future - [Alan] You're always listening to each other and always trying to help each other sound as good as possible.

And there's this kind of generosity of spirit and willingness to support.

If I could tell - [Christopher] When you do that, everyone's sense of responsibility increases.

There's the bow of the principle bass, there's the sound of the breathing and the trumpets behind you.

Your awareness has to be heightened in order to perform without a conductor.

(bright music) - [Todd] In the end, all of us a just conduits for the composer.

Ideally, when we play, it's not about us.

It's only really about the composer and trying to squeeze the emotion or the ideas.

But if you do it convincingly, there's something that they get from it that makes the experience irreplaceable of hearing live chamber music in a very intimate way like this That's what we try to do.

(pensive music) - [Marc] So if you then take chamber music as being the gathering, that's my job, of these incredible individuals, the level of power emotionally, the level of communication is intense.

(dramatic music) (dramatic music continues) (dramatic music continues) - [Carol] You're gonna play that dynamic there?

I think then we should play less - [Kirill] No, I'll play louder with.

- [Carol] But I like it actually.

- [Leila] Yeah, yeah.

It gives us somewhere to go.

- [Paul] Poco forte.

Yeah, okay.

- [Carol] I like it.

(dramatic music) - [Leila] Oh!

I'm sorry, what difference between the dashes and the accents.

- [Paul] They could be (singing the rhythm).

I think more.

- [Leila] Yeah.

(dramatic music) (dramatic music continues) (dramatic music) (dramatic music continues) - [Marc] One of the most significant French composers was Olivier Messiaen, (dramatic music continues) and he specifically wrote this one piece, which is called "The Quartet for the End of Time", which was composed in a Nazi concentration camp.

It's monumental.

It is written in a way where every one of these instruments, all four of them need to be complete virtuoso, superstar, athletic musicians.

Because Messiaen was very fascinated with rhythms and the rhythms are quite complicated to perform.

(dramatic music continues) If there are iconic masterpieces, I want them to be played better than you've ever heard them.

And so I picked these four people.

In the case of the clarinet, she eats it up.

She is the piece.

(dramatic music) (dramatic music continues) - [Carol] And it's one of those pieces that you're really laid bare because I think if you're not willing to really open yourself 100%, be willing to really go to the edge and really look over and take those risks, even be willing to crash, even if that's necessary.

There's a magic that happens when everyone's willing to kind of do that together and we all can kind of have each other's backs and trust each other to support each other in going there and doing that.

And that's a really privileged place to be and to feel on stage.

(tense music) - [Leila] The long extended solos, the clarinet... (dramatic clarinet music) the cello piano... (dramatic music) it takes great courage to play some of the tempe that he's marked, which is extremely slow.

(dramatic music continues) And then the violin piano... (dramatic music continues) These are the things that I think just truly lift the soul into a different realm.

(dramatic music continues) (dramatic music continues) - [Marc] One movement involves the four instruments playing in unison.

So they're all playing exactly the same thing at exactly the same time with this very complex rhythmic<br/> which just bursts out into the hall kinetic energy.

(dramatic music) (dramatic music continues) (dramatic music continues) (quiet dramatic music) (dramatic music) (dramatic music continues) (quiet dramatic music) (quiet dramatic music continues) (frenzied dramatic music) (dramatic music) (frenzied dramatic music) (frenzied dramatic music continues) (frenzied dramatic music continues) (suspenseful music) (dramatic music) (dramatic music continues) (dramatic music continues) (dramatic music) - [Brett] Why I've really loved return visits over the years to Santa Fe is that it brought me into contact with this whole other world of just fantastic chamber music players.

- [Musician] Can we ending please?

- [Tara] Yeah, yeah, yeah.

Second half?

- [Musician] Sure.

Last time?

- [Tara] Yeah.

(bright music) (bright music continues) - [Tara] I need to be here and I need to be with these people and I need to be in this space.

It's good for my soul, it's good for my head, it's good for my artistry.

I feel like I grow when I play with people like this.

(bright music continues) - [Todd] It's a very exacting profession we've chosen for ourselves.

We try to execute at the highest possible level and then on top of that we try to make people feel something.

(dramatic music) - [Marc] They're going to walk into this hall and walk out an hour or two later transformed.

(peaceful music) You've got humans sitting on a stage making vibrations in the air from these instruments which have been developed over hundreds of years, which are capable of doing that in a very sophisticated way.

These vibrations have the capability of communicating emotions much better than language, much more direct.

(peaceful music continues) (gentle music) It brings us to a different place in our lives.

- [Alan] It's music making for all the right reasons.

(gentle music continues) (gentle music continues) (playful music) (playful music continues) (dramatic music) (dramatic music continues)