Piano, Pianist, Pianner

[RalphBl@aol.com]

>(This review by Kenneth Langbell appeared some time ago in the English
>language BANGKOK POST. It was made available by Martin Bernheimer of the
>LOS ANGELES TIMES.)
>
> ________________________
>
>        "The recital last evening in the chamber music room of the Erawan
>Hotel by U.S. 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 repopularized 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
>screw-type stools 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.     As 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's.
>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 that 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-Minor --
>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 that 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 workmen who 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 both were 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 to be somewhat
>shaken.   Nevertheless, he swiveled himself back into position facing the
>piano and, leaving the D-Minor 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 the red-handled fire ax
>that was hung backstage in case of fire, for that was what he had 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 thereby 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."
>


This was sent to me by a friend at the University of the South. Enjoy!

Ralph Black
Nashville