Word: steinways
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Dates: during 1960-1969
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Squawking Steinway. Columbia's package concentrates chiefly on the broad spectrum of experimentation, most of it stemming from Webern's later pointillistic serialism and further shaped by the development of electronic sound producing and reproducing equipment. John Cage's Variations II required Pianist David Tudor to clip microphones at various points on his Steinway and to overtune them so that the amplifier-produced squawl and squawk become part of the composition; in Mikrophonie I. Karlheinz Stockhausen attached two microphones to an oversized gong, which was then hit with a variety of materials to produce a 26-minute...
Enter the Japanese. Now there are 19 U.S. companies in the growing piano market, and it has become more competitive than ever. Some companies actually pay artists to use their pianos. Prestigious Steinway sells all the pianos it can make (3,500 a year), hence does not bother; but many manufacturers spend as much as $50,000 for an endorsement from a big-name performer or a music center. The struggle for the mass market has stiffened with the entry of low-priced Japanese models. Even now, before the Kennedy Round tariff reductions, which will lower duties from...
...have severe balance problems. Mr. Laredo very quickly demonstrated a full, rich tone and an easy command of dynamics on the violin. But he was more and more obliged to "force" in an attempt to hold his own against the superior string length and physical mass of a Steinway grand...
...only a year ago, and then Lateiner, a deeply cerebral pianist (TIME, Aug. 19), worked on it doggedly for nine months. He postponed last fall's scheduled première for two months so that he could practice it some more, at one point holed up in the Steinway warehouse in Boston for six hours a day. Finally, last week Carter's concerto was given its world premiere, with Erich Leinsdorf and the Boston Symphony. Lateiner's homework paid off. He played with a flair and a command that are rare in such a complex work...
...case of "the dry heaves," had to be rescued from the men's room before each performance. On the day of the finals, he arose from a practice session and in his excitement cracked his head on a ledge protruding from a wall and collapsed against the Steinway. Revived, he refused a bandage for the one-inch gash in his forehead and, bloody but unbowed, trudged off to play with a driving intensity and the pyrotechnical flair of a young Horowitz...