Fwd: Humid Recital in Bangkok

[Michael Jorgensen]

List,
      I don't know about you, but when i read it, it hurt my spirit.  
It doesn't sound like Mr Koop was prepared for that recital, since part
of recital preperation is trying the piano first.  So a key bushing or
balance hole on afew need easing and the no one remembered to check to
see if the eccentric buttons were swiveled into position against the
legs.  -Not good!, but is that cause for chopping up the soundboard and
kicking a leg out so the piano falls and likely cracks the plate ruining
the piano and cussing?  IMHO, anyone in high position should be expected
to exhibit better behavior than that.
-Mike Jorgensen


 PIANOSSSSS@AOL.COM wrote:
> 
> Thought you all would enjoy this
> 
> John LaBorn,RPT
> 
> 
>     ---------------------------------------------------------------
> 
> Subject: Fwd: Humid Recital in Bangkok
> Date: Sat, 6 Mar 1999 11:17:49 EST
> From: JRodg43270@aol.com
> To: PIANOSSSSS@aol.com, CAROLIUP59@aol.com, Ruthbag@aol.com
> 
>     ---------------------------------------------------------------
> 
> Subject: Humid Recital in Bangkok
> Date: Thu, 4 Mar 1999 17:50:30 EST
> From: Tomsur@aol.com
> To: JRodg43270@aol.com
> 
> FROM:  LINDA SURLAK   I laughed out loud when I read this on the Internet.
> Hope you like it!
> 
> A Humid Recital Stirs Bangkok                       Kenneth Langbell, The
> English Language Bangkok Post
> 
> THE RECITAL, last evening in the chamber music room of the Erawan Hotel by US
> Pianist Myron Kropp, the first appearance of Mr. Kropp in Bangkok, can only be
> described by this reviewer and those who witnessed Mr. Kropp's performance as
> one of the most interesting experiences in a very long time. A hush fell over
> the room as Mr. Kropp appeared from the right of the stage, attired in black
> formal evening-wear with a small white poppy in his lapel. With sparse, sandy
> hair, a sallow complexion and a deceptively frail looking frame, the man who
> has re-popularized Johann Sebastian Bach approached the Baldwin Concert Grand,
> bowed to the audience and placed himself upon the stool.
> 
> It might be appropriate to insert at this juncture that many pianists,
> including Mr. Kropp, prefer a bench, maintaining that on a screw-type stool
> they sometimes find themselves turning sideways during a particularly
> expressive strain. There was a slight delay, in fact, as Mr. Kropp left the
> stage briefly, apparently in search of a bench, but returned when informed
> that there was none.
> 
> I HAVE mentioned on several other occasions, the Baldwin Concert Grand, while
> basically a fine instrument, needs constant attention, particularly in a
> climate such as Bangkok. This is even more true when the instrument is as old
> as the one provided in the chamber music room of the Erawan Hotel. In this
> humidity the felts which separate the white keys from the black tend to swell,
> causing an occasional key to stick, which apparently was the case last evening
> with the D in the second octave. During the "raging storm" section of the D-
> Minor Toccata and Fugue, Mr. Kropp must be complimented for putting up with
> the awkward D.  However, by the time the "storm" was past and he had gotten
> into the Prelude and Fugue in D Major, in which  the second octave D plays a
> major role, Mr. Kropp's patience was wearing thin.
> 
> Some who attended the performance later questioned whether the awkward key
> justified some of the language which was heard coming from the stage during
> softer passages of the fugue. However, one member of the audience, who had
> sent his children out of the room by the midway point of the fugue, had a
> valid point when he commented over the music and extemporaneous remarks of Mr.
> Kropp that the workman who had greased the stool might have done better to use
> some of the grease on the second octave D. Indeed, Mr. Kropp's stool had more
> than enough grease and during one passage in which the music and lyrics were
> both particularly violent, Mr. Kropp was turned completely around. Whereas
> before his remarks had been aimed largely at the piano and were therefore
> somewhat muted, to his surprise and that of those in the chamber music room he
> found himself addressing himself directly to the audience.
> 
> BUT SUCH THINGS do happen, and the person who began to laugh deserves to be
> severely reprimanded for this undignified behavior. Unfortunately, laughter is
> contagious, and by the time it had subsided and the audience had regained its
> composure Mr. Kropp appeared somewhat shaken. Nevertheless, he swiveled
> himself back into position facing the piano and, leaving the D Major Fugue
> unfinished, commenced on the Fantasia and Fugue in G Minor.
> 
> Why the concert grand piano's G key in the third octave chose that particular
> time to begin sticking I hesitate to guess. However, it is certainly safe to
> say that Mr. Kropp himself did nothing to help matters when he began using his
> feet to kick the lower portion of the piano instead of operating the pedals as
> is generally done. Possibly it was this jarring or the un-Bach-like hammering
> to which the sticking keyboard was being subjected. Something caused the right
> front leg of the piano to buckle slightly inward, leaving the entire
> instrument listing at approximately a 35-degree angle from that which is
> normal. A gasp went up from the audience, for if the piano had actually fallen
> several of Mr. Kropp's toes if not both his feet, would surely have been
> broken.
> 
> It was with a sigh of relief therefore, that the audience saw Mr. Kropp slowly
> rise from his stool and leave the stage. A few men in the back of the room
> began clapping and when Mr. Kropp reappeared a moment later it seemed he was
> responding to the ovation. Apparently, however, he had left to get a red-
> handled fire ax which was hung back stage in case of fire, for that was what
> was in his hand.
> 
> MY FIRST REACTION at seeing Mr. Kropp begin to chop at the left leg of the
> grand piano was that he was attempting to make it tilt at the same angle as
> the right leg and there by correct the list. However, when the weakened legs
> finally collapsed altogether with a great crash and Mr. Kropp continued to
> chop, it became obvious to all that he had no intention of going on with the
> concert. The ushers, who had heard the snapping of piano wires and splintering
> of sounding board from the dining room, came rushing in and, with the help of
> the hotel manager, two Indian watchmen and a passing police corporal, finally
> succeeded in disarming Mr. Kropp and dragging him off the stage.