Pianist and composer Sonya Belousova is celebrating 30 years of Super Mario Bros. with an epic piano medley on the world’s coolest piano.
YouTube channel Player Piano had Belousova play the tribute to the late Nintendo president Satoru Iwata on a piano styled after a classic Nintendo Entertainment System. While the medley is good, it’s the amazingly detailed piano that stands out.
The bench looks like a Nintendo controller, while the piano itself is modeled after the console. It comes complete with power and reset buttons as well as connection cords. The flip top door can cover the keys, which Belousova appropriately takes the time to blow on at the end!
• 1904 ~ (William Allen) Count Basie, Bandleader, pianist
More information about Count Basie
• 1928 ~ Art Farmer, Trumpeter, flugelhorn, worked with Horace Henderson, Johnny Otis, Lionel Hampton Band; recorded be-bop classic Farmer’s Market; developed musical instrument called ‘flumpet’
1933 ~ Dame Janet Baker, British mezzo-soprano Read quotes by and about Baker
More information about Baker
• 1938 ~ Kenny (Kenneth Donald) Rogers, Grammy and CMA Award-winning singer; groups: The Kirby Stone Four, The New Christy Minstrels, The First Edition
There will be $1.6 million worth of piano on stage at the City Recital Hall on Friday night. With their legs and lids removed for transport, eight Steinway grand pianos will be trucked to the venue.
There they will be reassembled on stage and tuned, ready for eight of Australia’s finest classical pianists.
In The Steinway Spectacular 16 hands and 80 fingers will play some of classical music’s greatest hits.
Conducted by Guy Noble, the pianists will work as an ensemble to perform works by composers such as Ravel, Saint-Saens and George Gershwin. ”It’s a very large affair,” says Noble. ”Logistically, it’s a nightmare.” The piano technician Ara Vartoukian will spend hours tuning the instruments.
For past concerts in Melbourne the process sometimes took all night. ”The pianos all, in essence, sound the same, so they have to be absolutely in tune with each other.”
Even after the most careful tuning, things can go awry.
The pianists – Anthony Halliday, Roger Heagney, Clemens Leske, Tamara Smolyar, Mikhail Solovei, Evgeny Ukhanov, Gerard Willems and Alexey Yemtsov – usually perform as soloists. Every now and again, Noble says, one of them ”goes rogue”.
”One will suddenly break out and play their own thing,” he says. ”I have to herd them back into the pride, glaring at them with eyes of death. It’s one of the hardest things I’ve ever had to conduct. It’s like herding cats.”
There is no repertoire for an ensemble of pianists, so Noble has created new arrangements.
His favourite is a rendition of the children’s staple Chopsticks. ”That just goes wild,” he says.
The segment titled So You Think You Can Play Scales is also a crowd pleaser. ”It’s like Piano Idol. People get voted off if they go off the rails.”
Other pieces will feature the organist Calvin Bowman and the soprano Shu-Cheen Yu. Bowman, who usually plays above the stage in a loft, will join the other performers on stage on an electronic organ.
”It’s a relief for him to be down on stage because he suffers terribly from vertigo,” Noble says. ”He’s been terrified in organ lofts all over Australia.”
More boisterous extravaganza than a recital for purists, the performance will appeal to an eclectic crowd.
”We get classical music lovers, as well as people who are just curious. It’s pure fun and enjoyment.”
The Steinway Spectacular is at the City Recital Hall on Friday.
A concert pianist is someone who plays the piano in concerts. So far so good, although it may be worth adding the adverb ‘regularly’ to that description. Someone did once tell me that his Aunt Ada was a concert pianist. “She had a lovely touch and played to great acclaim in a concert in our church hall – ‘Rustle of Spring’ I think.”
To avoid any confusion the clip above was played by Semprini, not Aunt Ada.
I’ve written before on this blog about how much more time is spent practising secretly at home or backstage than in front of an audience. It’s the training leading up to the Wimbledon Final, the solitary punchbag months before the blood flies into the roaring crowds at the World Heavyweight Boxing Championship.
But between home and the stage there are many hours when I want to work and I can’t. It’s one of the greatest frustrations of my touring life that, unlike other instrumentalists, I arrive at a hotel without my instrument. There’s that hour before dinner or the time spent twiddling thumbs before doing an interview when I would love to twiddle all ten fingers and check through a passage in my concerto or just get loosened up after a long flight … and I can’t.
Or at least the effort involved in doing so can be enormous. A piano somewhere in the hotel is the best solution, as long as it’s far away from prying ears. It has been suggested to me in the past that I play in the atrium lobby, amidst the mingling guests, the palm trees, the pile-up of Samsonite suitcases. Not even ‘Rustle of Spring’ is thinkable in those circumstances, I’m afraid. If the hotel is a mere walk from the hall then that’s the next best scenario although, later in the evening, there’s unlikely to be someone waiting just for me at the stage door. It has to be planned in advance and it’s often hard to know my plans in advance.
Then the options start to get worse, a taxi ride to a distant hall in heavy traffic, for instance. Finding the venue itself is the first hurdle but then, how to find the stage door? I’ve spent many occasions circling the building, rattling rusty handles, banging my fists against flaking doors, pressing antique buzzers, shouting through glass walls, leaving voicemail messages … to no avail.
Sometimes a generous patron will invite me to use his or her piano. Now I don’t want to sound like I don’t appreciate such kind offers (and sometimes it’s been the beginning of a wonderful friendship) but in my experience pianos in strange homes often come with cats … or rattling photo frames perilously balanced on piano lids, or a vase of trembling flowers on the same, or an impossibly high bench, or a squeaky pedal. And worst of all is the person who, leaving the door open, says to me: “Oh, I love the piano. Don’t mind me. I’ll just be in the next room if you need anything. What are you going to practise?” Then I freeze. I simply can’t work if I know someone is listening to me. It’s a bit like writing when someone is looking over your shoulder. Self-consciousness makes self-expression (and self-criticism) impossible.
So for a long time I oscillated between these various unsatisfactory formats until in more recent years I just stopped trying to practise on the road at all. But then a few seasons ago I started renting an electric keyboard if I was going to stay in a city for more than a couple of days. It was wonderful, saving time and making time so much more fruitful. I’d turn the volume down very low and work away at any time of the day or night.
I’m just beginning a two-month tour, starting in Hobart this week with the Tasmanian Symphony Orchestra and Marko Letonja, playing all five Beethoven concertos for the first time. And, also for the first time, I’ve brought along my own electric piano. It’s an experiment and so far (during a short stop at a beach in Thailand last week) it’s been invaluable. A full length keyboard of 88 keys is no good because, as well as being just that bit too heavy to maneuver, it won’t fit into a regular taxi.
But then I discovered the Nord 76-key Piano 2 with Hammer Action. Hand-made in Sweden (yes, I did a second take too) it’s the perfect tool for the job. There are lots of pieces of course which you can’t play from start to finish with a reduced keyboard (although only one note, occurring just three times, in all five Beethoven concertos is missing) but, like a ballet dancer at the barre, in just thirty minutes I can warm up, stretch the muscles, work at a few problem passages here and there and generally keep in shape without having to leave my room. Now when I don’t play the piano I don’t want to.
By Stephen Hough
Concert pianist, writer of words and music, governor of royal ballet companies, theology, art, poetry, perfume, puddings. Website: www.stephenhough.com Twitter: @houghhough
Beethoven’s first published works—his Opus No.1—were three trios for piano, violin and cello and already they show a marked advance on Haydn’s trios in the comparative interdependence of the three parts. Their freedom from Haydn’s oppressive formality looks forward to the first mature trios, the pair that comprises Opus 70, displaying all sorts of harmonic twists, thematic innovations and structural idiosyncrasies, these trios make much of the piano part and contain plenty of dramatic outbursts that are typical of Beethoven’s middle period.
Even more arresting is the first of the Opus 70 trios (1808) nicknamed ”The Ghost” because of its mysterious and haunting Largo. Its sibling boasts a cheerful bombastic finale that is the most entertaining music that Beethoven composed for this combination of instruments.
The “Archduke” Trio Opus 97 (1811) was Beethoven’s last full – scale work for piano trio and is typically conclusive. The third movement is its centre of gravity, a highly moving set of variations with the cello dominating the thematic content. It opens with a hymn-like theme and progresses to a coda which magnificently sums up the movements ideas. The finale might be less powerful than that of Opus 70 No. 2, but it nevertheless has a sweeping rhythmic power. Again, it is beyond the shadow of a doubt that Beethoven defined the piano trio form that it retained throughout the 19th century by allowing the string instruments the status of genuinely equal partners in this superlative performance.
• 1939 ~ The famous vaudeville house, Hippodrome, in New York City, was used for the last time. There were several places called the Hippodrome around the country. They weren’t, generally, theatres, nor true nightclubs. Hippodromes were designed for the wide variety of vaudeville acts available at the time … dancing, music, comedy and skits.
• 1940 ~ Marching Along Together, by Frankie Masters and his orchestra, was recorded for Okeh Records.
• 1942 ~ Barbara George, Singer
• 1945 ~ Suzanne Farrell (Ficker), Ballerina
• 1953 ~ James ‘J.T.’ Taylor, Singer with Kool and The Gang
• 1958 ~ Madonna (Madonna Louise Veronica Ciccone), Singer
• 1962 ~ Brian Epstein, manager of The Beatles, handed drummer Pete Best his walking papers. Best had been with the group for 2-1/2 years. Ringo Starr (Richard Starkey) was picked to take his place. One month later, the group recorded, Love Me Do.
• 1977 ~ Elvis Presley was rushed from Graceland to Baptist Memorial Hospital in Memphis, Tennessee. Doctors’ efforts to revive him were fruitless and he was pronounced dead (coronary arrhythmia) at 3:30 p.m. He was 42 years old.
• 1984 ~ Prince was pictured on the cover of Rolling Stone magazine. He was shown with his left armpit exposed.
• 1984 ~ Though it didn’t make the pop music charts, a new single by Elvis Presley was released by RCA Victor Records. The song was originally recorded in 1956 at the Tupelo (MS) Fairgrounds. It was called, Baby, Let’s Play House.
• 2000 ~ Sally Amato, who founded the Amato Opera Theater with her husband, Anthony Amato, in 1948, died at the age of 82.
Amato, who performed under her maiden name, Serafina Bellantone, was born in Little Italy in 1917. As a child she appeared in vaudeville skits in local movie theaters.
She met her husband when they were both appearing in an operetta at New Jersey’s Paper Mill Playhouse, and they founded the Amato Opera Theater to provide young singers with a chance to perform.
Picture a seven-foot grand piano in a studio. The lid’s missing, so you can see all the strings. Researchers suspend a rod embedded with 32 microphones over the piano’s body.
“We played this middle C at a very soft level, a medium level, and a very loud level,” says Agnieszka Roginska, a professor in NYU’s music technology program. She says using a pianist to play middle C over and over wouldn’t be scientific. So they’re using a disklavier, a fancy player piano triggered by electronics. “So we could hit the same note, with the same velocity, thousands of times,” she says.
They’d record the piano in one spot. Then move the microphones eight inches. Record the note. Move the mics again. Record the note. Over and over and over, until they reach the back of the piano. At the end, they get “what is basically a very dense acoustical scan of the radiation pattern of the grand piano,” Roginska says.
• 1922 ~ Lukas Foss, German-born American pianist, conductor and composer
• 1925 ~ Oscar Peterson, Canadian Jazz pianist, jazz trios, solos, played with all jazz greats, composer. He achieved international fame with the touring “Jazz at the Philharmonic”. His biography is Oscar Peterson: The Will to Swing
• 1925 ~ Bill Pinkney, Musician, bass with The Drifters
• 1933 ~ Bobby Helms, Singer
• 1941 ~ Don Rich, Country musician, songwriter, one of Buck Owens’ Buckaroos
• 1941 ~ Au Revoir, Pleasant Dreams was recorded by Ben Bernie and his orchestra.
• 1942 ~ Peter York, Musician, drums with Spencer Davis Group
• 1965 ~ 55,600 people attended a Beatles concert at Shea Stadium, New York, creating world attendance and revenue records for a pop concert.
• 1969 ~ The first day of the most famous musical event of 1969, Woodstock. It was originally called The Woodstock Music and Arts Fair and it began in Bethel, New York.
• 1969 ~ Three Dog Night (Danny Hutton, Cory Wells and Chuck Negron) were awarded a gold record for the album, Three Dog Night. Where’d the name of the group come from? In Australia, the aborigine tribes of several regions slept outside all year. As the temperatures got colder, the tribesmen would sleep with a dog to keep warm. In colder weather, they would huddle with two dogs. It must have been an extremely cold night when the group was formed!
• 1981 ~ Lionel Richie and Diana Ross hit number one on the pop music charts with their beautiful duet, Endless Love. It was a huge success for the two singers. Endless Love was number one for 9 weeks.
• 1989 ~ Many groups who had been to Woodstock had a twentieth-anniversary celebration.
1933 ~ Dame Janet Baker, British mezzo-soprano Read quotes by and about 
