21st Century. "Every so often during the 80s I'd take tea at the Palm Court at the Plaza Hotel in New York City. I always felt as though surrounded by lurid ghosts dancing to the light salon fareGottschalk and Boulanger confections, Strauss waltzes and Herbert paraphrasesusually performed by a harpist, or a piano trio. I've evoked the feeling in a diptych comprising Valse Blanche for violin and piano, and Valse Noire, for cello and piano. Valse Blanche: How Love Comes, Tangiers, October 1958 was written for (and is dedicated to) violinist Livia Sohn and pianist Benjamin Loeb, who recorded it for Naxos Records. It is an operatic-paraphrase based on the two principal themes of my opera A Woman in Morocco. The rhapsodic variations that explore the doomed relationship between two lovers at a Tangiers pensione in October 1958 are by turns lubricious, chaste, tormented, torchy, and doomed. The violin takes the role of Lizzy, a young American journalist; the piano portrays Ahmed, the Moroccan major domo of the hotel. It may, of course, be the other way around." - the composer