Answer the question at the end by quoting:

Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofe several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. The editors of the Cambridge Music Handbooks opined that "The Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works."
Two audio recordings exist of Gershwin performing an abridged version of the work with Whiteman's orchestra: an acoustic recording made for Victor on June 10, 1924, and running 8'59'' (this recording includes the original clarinetist, Ross Gorman, playing the glissando) and a Victor electrical recording made April 21, 1927, running 9'01'' (about half the length of the complete work). This 1927 version was also dubbed onto an RCA Victor  33 1/3 rpm Program Transcription in 1932. The latter version was actually conducted by Nathaniel Shilkret after an argument between Gershwin and Whiteman. A 1925 piano roll captured Gershwin's performance in a two piano version. Whiteman's orchestra also performed a shortened version of the piece in the 1930 film The King of Jazz featuring Roy Bargy on piano. Whiteman re-recorded the piece on both sides of a 12-inch Decca 78 rpm (29051) recorded on October 23, 1938. The first complete recording, with pianist Jesus Maria Sanroma and Arthur Fiedler conducting the Boston Pops Orchestra, was issued by RCA Victor in 1935.  Since the mid-20th century, the 1942 version has usually been performed by classical orchestras playing the expanded arrangement. In this form, it has become a staple of the concert repertoire. It has direct popular appeal while also being regarded respectfully by classical musicians.  On August 21, 1945, a recording by Oscar Levant with the Philadelphia Orchestra (conducted by Eugene Ormandy) entered at its peak position of number 23 on the Cash Box survey (Columbia Masterworks 251).  In 1973, the piece was recorded by jazz-rock artist Eumir Deodato on his album Deodato 2. The single reached Billboard peak positions number 41 Pop, number 10 Easy Listening. A disco arrangement was recorded by French pianist Richard Clayderman in 1978 and is one of his signature pieces.  In the late 1970s, interest in the original arrangement was revived. On February 14, 1973, it received its first performance since the 1920s: Kenneth Kiesler secured needed permissions and led with work with pianist Paul Verrette on his U. of New Hampshire campus. Reconstructions of it have been recorded by Michael Tilson Thomas and the Columbia Jazz Band in 1976, and by Maurice Peress with Ivan Davis on piano as part of a 60th-anniversary reconstruction of the entire 1924 concert. Andre Watts (1976), Marco Fumo (1974), and Sara Davis Buechner (2005) released recordings of the work for solo piano as did Eric Himy (2004) in a version that featured the uncut original short score. Meanwhile, such two-piano teams as Jose Iturbi and Amparo Iturbi, France Veri and Michael Jamanis and Katia and Marielle Labeque, also recorded the piece. Michel Camilo recorded the piece in 2006, winning a Latin Grammy award.

what did the review say?

Michel Camilo recorded the piece in 2006, winning a Latin Grammy award.



Answer the question at the end by quoting:

Matthew Paris, known as Matthew of Paris (Latin: Matthaeus Parisiensis, lit. "Matthew the Parisian"; c. 1200 - 1259), was a Benedictine monk, English chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.  The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.  Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.

What was the plan?
He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events.