You know, that piece is so pretty. So pretty. I bet if you played that in your set, everybody would react to that. I'll tell you why I played that piece, Marian. I've studied that piece many, many years ago. I can't think of the name of it. It's called Traumerei by Robert Schumann. And I was fortunate enough to be invited to the recital at the White House that Vladimir Horowitz played for the president a few months ago earlier this year. And I noticed that he played it on his program. And almost every time I've heard him play in public, he puts the Traumerei on the program. And I thought that a few months ago was the best I've ever heard him play it. And I've been hearing him play it for many, many years. And it's interesting, what he does is so unique to me that I admire so much. He takes pieces that maybe a lot of classical players would turn their nose up at. And he makes them into masterpieces. That little piece was just out of this world the way he played it down there. And his whole program, he played mostly Chopin program. He played the A-flat Polonaise. He played the C-sharp minor waltz and the B-flat minor sonata. Pieces that every concert player has played, the standard piano music everyone has heard from childhood that he's probably been playing ever since he was a young fellow. And yet when he plays these pieces, as he did at the White House a few months ago, it was the excitement. It was like the day Chopin first wrote them. He brings them to life. They are not museum pieces by any means. They live and breathe as much as any modern music. I'm glad to hear you say that. He infuses pieces. They sparkle with life. And I was able to hear shortly after another famous concert pianist in Chicago at Orchestra Hall out there. And he couldn't do it. He could play. He seemed to play as well as Horowitz. But his pieces were like he was giving you an excellent historical lesson of what was going on in the 19th century or so on like that in the past. But with Horowitz, those pieces live and breathe as though they were written today. It puts magic. It's uncanny what he does. Yeah, well, he's got a special aura about him. I mean, he really is head and shoulders above the average pianist as an individual. I mean, what his head is like inside must be the reason for what comes out in his fingers. You know, he must be an intensely romantic and an intense and deep thinking man to be able to produce the kind of music that he does produce. He's probably been an inspiration to you, to all of us, certainly to me. I think the most exciting performers that I've heard on the keyboard were Art Tatum, maybe, and Horowitz, who would make such a deep impression on me after I hear them, such a lasting impression for many weeks after the way they perform, this quality that they get into music. For instance, Horowitz can evoke, when he plays, I get images in my mind that other pianists don't stir, don't wake those sort of pictures and images when he plays. He played the A-flat Polonaise, and I've never heard anything so exciting in my life. You know, the middle part where he's got those octave... Something like that. I think he did that. The crescendo in that was so exciting when he finally got to the peak of that, like he climbed a mountain. When he got up to the top of it, it was enough to make your hair stand on end. One of the most thrilling things I've ever heard. Listen, I wanted to ask you something. I know you did a few warm-up exercises. Do you feel that's important to do? Do you do that before every performance? Yes, I feel better if I can do a few exercises. What does it do for you? It sets the muscles up, loosens them up somewhere. I learned that from a teacher, Richard McClanahan, who was a pupil of Tobias Maté. We were talking a little bit earlier about that Maté system in England. That's a Maté method that was very big in England. Well, quite a few jazz players here in New York studied with Richard McClanahan. Mel Powell studied with him. I studied with him quite a while. Hazel Scott, another excellent player who used to be with Artie Shaw, named Bob Kitsis. I know he was with him. And others, Milt Raskin, who was with Tommy Dorsey. Many jazz players stayed with him because the system was one, not of strength building, but developing relaxation, which is good for jazz players. Well, isn't it also not only from your wrist, but from your whole elbow, arm, back, and bringing all these muscles into play? The rotation of the whole playing apparatus, yeah. The spine, the back, the shoulders, the upper arm, the forearms, the hands, the rotary function of the forearm, so that that's free, which is often overlooked, and a lot of players can tense in the forearm, the rotary tensed motions of the forearm, or stresses of the forearm, and not be aware that they're tightening up there, and it interferes with the technique. That's the biggest thing about playing, is to be relaxed. It's funny, if you're tense, it's amazing, but it comes out. I guess in this kind of music, everything you're feeling comes out. So all that kind of exercise is very good. And I guess I ought to try a little bit of that myself sometime. I tell you, I did last year when I was practicing for the Grieg Concerto. I was practicing that, but I've got a little lax lately. But watching you limber up gave me a good example. So how about another song, though? And this is one I like, one that you kind of surprised me with, Moonglow. Moonglow, all right. Is that in your regular repertoire? Yes, I play that one. I keep that one going all the time. I like that one. It's a pretty song.