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Peter Leslie Shilton OBE (born 18 September 1949) is an English former footballer who played as a goalkeeper. He currently holds the record for playing more games for England than anyone else, earning 125 caps, and held the all-time record for the most competitive appearances in world football - 1,249 - until being surpassed by Paul Bastock in 2017. The IFFHS ranked Shilton among the top ten keepers of the 20th century in 2000. His 30-year career includes being at 11 different clubs, winning two European Cup finals, and playing more than 1,300 competitive matches.
Despite playing at a lower level, he impressed England manager Alf Ramsey sufficiently to give him his debut against East Germany in November 1970. England won 3-1. Little more than six months later, Leicester were promoted back to the First Division.  His second England cap came in a goalless draw against Wales at Wembley; and his first competitive match for his country was his third appearance as England drew 1-1 with Switzerland in a qualifying game for the 1972 European Championships. At this stage, Banks was still England's first choice keeper, but the remaining brace of back-ups from the 1970 World Cup, Peter Bonetti and Alex Stepney, had been cast aside by Ramsey so Shilton could begin to regard himself as his country's number two goalkeeper at the age of 22.  Life with Leicester City continued uneventfully as Shilton's England career progressed. His fourth and fifth England caps came towards the end of 1972 (England had failed to qualify for the European Championship competition) before a tragic incident suddenly saw Shilton propelled into the limelight as England's number one keeper.  In October 1972, Gordon Banks was involved in a car crash which resulted in the loss of the sight in one eye and thus ended his career. Liverpool goalkeeper Ray Clemence was called up to make his debut a month later for England's opening qualifier for the 1974 World Cup, (a 1-0 win over Wales). Shilton ended up with over 100 caps compared to Clemence's 61.  Shilton in the summer of 1973 kept three clean sheets as England defeated Northern Ireland, Wales and Scotland. Against Scotland Shilton made a right handed save diving to his left from Kenny Dalglish's shot that Shilton considered among his best saves. While drawing with Czechoslovakia earned Shilton his tenth cap - as a warm-up to a crucial World Cup qualifier against Poland in Chorzow a week later. This went badly for England, with Shilton unable to stop both goals in a 2-0 defeat and therefore making victory in the final qualifier, against the same opposition at Wembley four months later, a necessity if England were to make the finals.

what does england calls mean?

Despite playing at a lower level, he impressed England manager Alf Ramsey sufficiently to give him his debut against East Germany



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Charles-Camille Saint-Saens (French: [SaRl kamij sesas]; 9 October 1835 - 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886). Saint-Saens was a musical prodigy, making his concert debut at the age of ten.
In the early years of the 20th century, the anonymous author of the article on Saint-Saens in Grove's Dictionary of Music and Musicians wrote:  Saint-Saens is a consummate master of composition, and no one possesses a more profound knowledge than he does of the secrets and resources of the art; but the creative faculty does not keep pace with the technical skill of the workman. His incomparable talent for orchestration enables him to give relief to ideas which would otherwise be crude and mediocre in themselves ... his works are on the one hand not frivolous enough to become popular in the widest sense, nor on the other do they take hold of the public by that sincerity and warmth of feeling which is so convincing.  Although a keen modernist in his youth, Saint-Saens was always deeply aware of the great masters of the past. In a profile of him written to mark his eightieth birthday, the critic D C Parker wrote, "That Saint-Saens knows Rameau ... Bach and Handel, Haydn and Mozart, must be manifest to all who are familiar with his writings. His love for the classical giants and his sympathy with them form, so to speak, the foundation of his art."  Less attracted than some of his French contemporaries to the continuous stream of music popularised by Wagner, Saint-Saens often favoured self-contained melodies. Though they are frequently, in Ratner's phrase, "supple and pliable", more often than not they are constructed in three- or four-bar sections, and the "phrase pattern AABB is characteristic". An occasional tendency to neoclassicism, influenced by his study of French baroque music, is in contrast with the colourful orchestral music more widely identified with him. Grove observes that he makes his effects more by characterful harmony and rhythms than by extravagant scoring. In both of those areas of his craft he was normally content with the familiar. Rhythmically, he inclined to standard double, triple or compound metres (although Grove points to a 5/4 passage in the Piano Trio and another in 7/4 in the Polonaise for two pianos). From his time at the Conservatoire he was a master of counterpoint; contrapuntal passages crop up, seemingly naturally, in many of his works.

Is there anything else that is important regarding his music?
Rhythmically, he inclined to standard double, triple or compound metres