Word: duos
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Dates: during 1960-1969
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...copies, six times all their previous record sales combined. Ferrante and Teicher followed with recordings of every movie theme they could put their hands on They proved so successful that the pianists decided to drop their classical repertory, add a few comedy routines, and change their billing from duo-pianists to a two-man show." In the four years since, they have sold 14 million records establishing themselves as far and away the most popular piano duo ever Branching out into new fields, they have just finished writing and playing the film score for United Artists' upcoming A Rage...
After the fourth encore the one on the left steps to the microphone: "No doubt," he says, "some of you out there are wondering which is which " They are indeed, for Duo-Pianists Ferrante Teicher look as much alike as they Play. In their patent leather shoes electric red jackets, black-rimmed spectacles and matching pompadour toupees they are the Tweedle twins of the concert stage...
Audiences have not always cared which was Dee and which was Dum For twelve lean years Arthur Ferrante Louis Teicher, now both 39 orbited the concert circuit, one of a near dozen duo-piano teams whose specialty had as much box office appeal as a concerto for glockenspiel. There was one compensation, as Teicher recalls "You always had somebody to talk...
...conjure up weird effects resembling gongs, castanets, drums, xylophone and harpsichord. Ferrante and Teicher have been playing in unison ever since they were sixyear-old prodigies studying together at Manhattan's Juilliard School of Music After twelve years and repeated prodding from teachers, they decided to become professional duo-pianists. In 1948 they bought an old delivery truck loaded on their Steinways and hit the road. They played in gymnasiums, churches, cafeterias, ballparks, even a boxing ring. In the first dozen years they went through three trucks, twelve motors, and too few square meals "If our wives hadn...
Sing Along with Gongs. In villages threatened by the advancing Viet Cong, Addiss and Crofut had to sing to a constantly shifting audience, a kind of music to flee by. The duo played in the imperial city of Hue and raised $1,400 for the nearly 1,000,000 homeless flood victims. In one remote mountain vil lage, their performance ended up in a woolly hootenanny with the loinclothed montagnard tribesmen chanting and playing along on gongs and flute. Faced by antagonistic students ready to argue politics, Addiss and Crofut always retreated to song. "As soon as they realized that...