Chords for Williams and Perlman play Gardel's "Por Una Cabeza" tango

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_ On many occasions, some of the most famous virtual musicians in the world have performed for Hollywood.
Heifetz, you know, and Isaac Stern, and Misha Elman.
Tell me about some of these great musicians who have _ degraded themselves, they thought, by taking Hollywood's money.
And thereby reaching billions of people when they're doing it, sure.
Well, we've had subjects where we've needed them to play, you know, needed this kind of level of skill.
And it's great when that happens. _
We had Isaac Stern playing the all-the-violin cadenzas in Fiddler on the Roof, which I wrote for him.
Which you won an Oscar for.
That's right.
I'll say that.
And a recent example for me was Schindler's List, where the story seemed to require the kind of ambiance that a great violinist could bring to it,
and the European part of it, and the ethnic part of what was needed musically.
The thing about working in film, Gene, is that one needs this chameleon-like quality, I think,
to move from an Irish film to a film about some other country or some other atmosphere.
It's part of what's required, I think, to be able to have a broad enough range to do a number of films.
Otherwise, you do one film in one style.
Well, we've talked a lot about your music, because I love your music, and after all, I'm a nice host.
I'm picking up the tab here, so I thought I would talk to you about your music.
But there are other very good composers, [G] and in Center of a Woman, there was a wonderful [Eb] tango that I really loved.
Yes.
Carlos Gardel.
I don't know him.
That is a fabulous piece, and it's like Perlman and I have recorded it together, only because we loved it.
I have to confess to you, I haven't seen the movie, but I love the piece.
I love the music.
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