Word: pianos
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...musical would work," explains Charnin. Cohen and Feuer decided that more excitement was needed. Enter two dancers. They did not fit and were fired. A new choreographer arrived with six more dancers. Rodgers, well known for his speed in composing, was sent back to the piano for six new songs. A new lyricist, Raymond Jessel, was hired to write the words...
With only one semester of piano lessons behind her, Rickie Lee put her musical ideas across by spinning out stories to set the mood she wanted. "If I'd allowed myself to be told what to do," she says, "I'm sure somebody would have loved to tell me. But I wouldn't stand for it." That kind of stubbornness also gave the musicians a good deal of room to move. "She steps back and lets us play," says a back-up musician on her current sold-out club tour. "She knows what she wants...
...sexuality as well. Women vied for the white gloves he tossed aside before sitting down to play-and often for other favors afterward. His recitals, heavily laced with showpieces of his own composing, catered unabashedly to the florid, sentimental taste of the day. On occasion he disdained using one piano where ten or 14 would do. During the years before his death at 40 in Rio de Janeiro, he took to staging what he called "monster" festivals, sometimes jamming hundreds of players and singers on to the same platform for a bash of Berliozian proportions...
...mark the 150th anniversary of the composer's birth last week, what could be more fitting than for Pianist and Gottschalk Fancier Eugene List to take over Carnegie Hall for a "monster concert" in the master's manner? 40 PIANISTS! 400 FINGERS! 880 PIANO KEYS! said the posters. Actually, there were 41 pianists, all current or former students of List's in his more staid guise as a teacher (first at the University of Rochester's Eastman School of Music, now at New York University). Following a sort of platoon system, the performers came and went...
...Bananier and Orfa. These performances, cleanly accented and subtly colored, gave a glimpse of Gottschalk's true originality as a composer. At his best, he adapted the Creole and plantation tunes of his native New Orleans, mixed them with the sinuous rhythms of Latin America, and produced piano works as fresh and insouciant as their titles were evocative: The Banjo, Bamboula, Souvenir de Porto Rico. On the strength of them, he stands as the precursor to the great line of American nationalists from Charles Ives to Aaron Copland. More's the pity, then, that when last week...