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New York, 1978, kindred composers Philip Corner and Carles Santos meet at the B�sendorfer piano of Charlemagne Palestine to record four-hand piano versions of Corner's pieces "Chord" and "Gong!". The result is a long-flowing distillation of the source of the two composers' affinity: avant-garde practice of austere artistic devotion at play with perfect imperfections of the uncontainable human spirit.
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