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...field is Asia's musical ascendancy more evident than the piano. By the end of the 20th century, the long-reigning archetype of the keyboard virtuoso, the temperamental Eastern European ?migr?, in the mold of Artur Rubinstein, was on the decline; impresarios, critics and audiences were growing despondent at the dimming of star magnetism among the new generation of players. The scene was set for Lang Lang and Yundi Li, two young Chinese musicians who are today the emerging stars of the rarefied world of concert-hall pianism. Both men were born in 1982, and have exclusive recording contracts with...

Author: /time Magazine | Title: The Rise of a Musical Superpower | 6/28/2004 | See Source »

From an early age, he was searching. Wylie Pitman, a shopkeeper from round the way in Greenville, had a piano and a jukebox, and he used to invite young Ray to play them both. On the jukebox, Ray would hear blues from Tampa Red, jazz from Count Basie and pop from Nat King Cole; other times he listened to the box's country or classical selections. On some days, Pitman let Ray bang the keys of his piano. "That's it, sonny, that's it!" Pitman would cry, when Ray was on to something good. At 7, Charles enrolled...

Author: /time Magazine | Title: The Genius of Brother Ray | 6/21/2004 | See Source »

Whatever the style, in his greatest performances Charles explored melancholy and then beat it back with pounding piano playing and his broad-shouldered baritone. His rendition of Georgia on My Mind (1960) is about more than a state of the union; it turns longing into a state of grace. Many of his other hits, including Drown in My Own Tears (1955) and Busted (1963), were suffused with despair, but he performed them with such fortitude, they came across as revivifying. Indomitable in life (he overcame a 20-year heroin habit and fathered 11 children) and in song...

Author: /time Magazine | Title: The Genius of Brother Ray | 6/21/2004 | See Source »

...Arnold Horwitt was junked. They could do it because they were old pals. They composed the score for "On the Town" in 1944; and in the late 30s, when Comden and Green were starting out in a cabaret quintet called the Revuers, Bernstein occasionally accompanied them on the piano and collaborated on songs. (The troupe also included Judy Tuvim, later the Broadway and movie marvel Judy Holliday.) "Wonderful Town," set in 1935, has many echoes of the team's early days: one scene, "One Hundred Easy Ways (To Lose a Man)," is based on an old Revuers sketch; another...

Author: /time Magazine | Title: That Old Feeling: Bravo! Encores! | 6/12/2004 | See Source »

...essential part of this style—and Zakrzewski’s worldly persona in general—is her European background and extensive travel she has done for piano, according to Butler...

Author: By Anne K. Kofol, CRIMSON STAFF WRITER | Title: Whether Donning Coats of Bright Red or Fur, Concert Pianist Basks in Spotlight | 6/10/2004 | See Source »

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