jtattoo wrote:Yes Mark I am the one and same Jtattoo......
Great! I wanted to say hi over there too, but didn't because I wasn't 100
% sure it was you (although indeed 99)
plus, you seem to be maybe a little more gingerly over there and I wasn't sure you'd want to be "recognized."
......And that was a slip, it was Gale I believe.....
I wondered a little but not much, because back in the day (when I was still learning about "names" and stuff), there was a baseball player whose first name was "Gail." And the odd thing about that was, it wasn't like he couldn't help it; he sort of chose it. His actual first name was Boyd, and his middle name was Gail. For some reason (particularly of note since it was in such a macho-ish environment), he went by his middle name.
I always found that fascinating.
.......Harpo could play and I think he even might have produced an album, but it would have been created with a great deal of editing. The only way I knew about the dubbing in the movies was my friendship with the some of the "big" name studio harpists when that system was still in place.....
Great stuff, including the continuation where you told more about how it worked with the harpists. I knew from prior reading, like from contemporary reviews of Harpo's playing in their live performances, that Harpo at least initially was considered not that good, but I figured he must have improved later because of how he "played" in the films. I guess he didn't necessarily.
......I noticed in your recording the piano was a Bosendorfer and the setting was not a home. If you don't mind me asking, did you go to a studio for the recording? and do you have a Bosendorfer? I have never played one and now would like to have chance sometime.
It was at the auditorium of a local conservatory (called the Music Conservatory of Westchester; I don't know what they don't just say Westchester Music Conservatory)
where they happen to have this Bosendorfer as one of the house pianos. It's a beauty, and also the red background
doesn't hurt either.
Bosendorfers can be variable, but in my experience, when you find a great one, nothing beats it. I've played many solo recitals over the years and have often sought out a Bosendorfer that would be available to be brought in. I was just lucky in this case that they have a great one right there. And they also have a Steinway. Not bad for a local little place!!
At home I have a Steinway B. I once considered getting a Bosendorfer, but besides the main reason which is $$$$$$, I wasn't that much interested because I felt it wouldn't be the greatest preparation for performing. While I do get Bosendorfers for performances when possible, usually I can't, and I feel that a Bosendorfer is enough different from "usual" pianos that it would be an issue. Oh......I realize this doesn't make sense unless I also mention that I think moving to a Bosendorfer when you're used to a Steinway is no issue at all; it's just the move in the opposite direction that I think would be. How do I explain it? Not easily.
Thanks for asking......I love this subject of different kinds of pianos. I'd mention also that I prefer Hamburg Steinways to New York ones, but don't have one for sort of the same reasons, plus that it's hard to find Hamburg Steinways to buy in these parts and I would never order a piano that I couldn't try first.