Yeah, me and Freddie Cho go way back. I kinda like the way that through melodic clashes, ambiguous chords, delayed or surprising cadences, remote or sliding modulations (sometimes many in quick succession), unresolved dominant 7ths and occasionally excursions into pure chromaticism or modality, he pushed the accepted procedures of dissonance and key info previously unexplored territory.
He didn't even make it to 40, poor guy.
Hey, did you know that Haut-Brion is widely but incorrectly thought to be a corruption of O'Brien?
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