>(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
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