Word: pianos
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Dates: during 1980-1989
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BEFORE THE FIRST LINE of dialogue is spoken. Bundy's The Hostage assumes a peculiar vaguely confused tone. The curtain rises on the delapidated lodging house: a light-haired woman stands beside a piano, waving to the audience. As she sits at the piano and begins to play. The company comes onstage and dances a jig. Their steps are careful. Scrupulously well-executed: you can see the concentration on their faces, in their wide alert eves, in their lips that move softly as they count the beats. The tinny sound of the piano and the gently pitter-pat of shoes...
...rest today was himself a jazzman. Albert Walters was his name. His melodic cornet was heard around town for more than half a century -and is still to be heard on such records as Albert Walters with the Society Jazz Band and West Indies Blues. Walters taught himself piano as a kid, took up the horn in 1927. He liked to say he was a carpenter by trade but a musician by choice. He appeared now and then with other traditionalists in Preservation Hall, but mostly he worked with Society Jazz. A short, stocky man, widowed several years ago, Walters...
...SECOND PART of Escape Artist's trilogy, side two, provides moving anthems for Jeffreys' street heroes. "R.O.C.K." begins with a compelling piano solo by Roy Bittan, and, in epic style, thumping drums and guitar twangs descend. "R-o-c-k rock, it's sweeping across the nation," declares Jeffreys, again using the spelling tactic. "It's rescued me from a fate that's worse than death: just like a destiny, it gives me new breath." Music is inextricable from his existence; it is his escape art. The kids who have nothing else to live for play a battered instrument...
...caricature by Aline Fruhauf shows BartÓk calmly playing the piano and producing a cacophony. The caption reads: "Bela BartÓk, the mild-mannered revolutionist." Shy and reserved, he knew that his compositions were difficult, and was not hopeful about their appeal. "He never expected the public to like them and play them," recalled Publisher Ralph Hawkes of Boosey & Hawkes. "Apathy and even aversion to his music was to be found everywhere." Dorati told TIME Correspondent Christopher Redman last week: "Even in Hungary, I was sometimes whistled off the podium...
...Schoenberg, Webern-were even less conventionally melodic. With BartÓk the difference lay in his rejection of the German musical models that had long been dominant. Visiting the dying composer in New York one day, Dorati recalls finding him engrossed in a copy of Edward Grieg's Piano Concerto. Asked why he was studying such a romantic score, BartÓk said that Grieg was important because he had "cast off the German yoke...