Word: pianos
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...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...
...period, BartÓk founded no school and left behind only a handful of disciples. But his effect on the music of this century has been significant. It was BartÓk, for example, who brought the percussion section to prominence in works such as the Sonata for Two Pianos and Percussion and the Music for Strings, Percussion and Celesta, liberating drums, cymbals and gongs from their traditional role as accompanists and inspiring his successors to use percussion instruments in bolder and more imaginative ways. In his six String Quartets, generally acknowledged as the most important works in the genre...
...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...
WHEN YOU were a little kid, you heard "Satisfaction" and "Gimme Shelter" on someone's car radio, and you wanted that record. Your parents had bought you lots of Simon and Garfunkel and let your piano teacher show you twelve-bar blues, but you wanted The Rolling Stones...