THE GIFT OF MUSIC

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“Arts education can have a profound effect on the academic careers of our students,” said Philadelphia’s Mayor Jim Kenney, who was on hand to celebrate the opening of the Lang Lang International Music Foundation’s Keys of Inspiration Piano Lab at the Southwark School!

LLIMF opened a second Piano Lab at Philadelphia’s Edward T. Steel School. The foundation expressed “special thanks to Roland for furnishing the labs with their state-of-the-art keyboards, to Steinway & Sons and Jacobs Music Company Philadelphia Steinway Selection Center for arranging the delivery of two beautiful pianos for yesterday’s recitals, and to the School District of Philadelphia for being so supportive!”

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A WORSHIP MUSICIANS WORKSHOP AT JACOBS MUSIC OF EPHRATA

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On Saturday, March 18th, Jacobs Music of Ephrata was pleased to host a WORSHIP MUSICIANS WORKSHOP: BRINGING HYMNS TO LIFE WITH CONTEMPORARY STYLE.

Clinician, MATT HYZER, explored how hymns and worship songs can be greatly enhanced through improvisation, modulation, chord substitutions, introductions, and endings. Other topics included creative solo arrangements, hymn accompanying, and playing from lead sheets to make worship songs come to life.

As a freelance writer/arranger, Mr. Hyzer has contributed to the catalogs of Alfred Publishing, The Lorenz Company, Mercer University Press, Shawnee Press, and Word Music, where three of his arrangements were included in the collection Piano Praise & Worship.

We are pleased to share this article from the Morning Call

 Steve SiegelSpecial to The Morning Call 

Classical: Pianist Robert Taub in Bethlehem: Expressionism in art, music

In the arts, whether music, painting or literature, sometimes there is an inevitable turning point from which return is impossible. Such was the case with painting in the early 1900s, when a shift from strict representation to abstract forms set the art world on its ear.

Abstract art was born, soon to be followed by Expressionism, with such early movers as Kandinsky, Mondrian and Schiele. The same is true in music. There’s a strong link between Expressionism in painting and in music, and that’s the theme behind two programs featuring renowned pianist Robert Taub on Thursday. They will be in Peter Hall at Bethlehem’s Moravian College.

At 11:45 a.m., Taub will present a free lecture and slide presentation, and discuss the works of Expressionist composers and visual artists.

In the evening program, “Raising the Bar,” Taub will perform masterpieces by Beethoven, Brahms, Scriabin, Schoenberg and Babbitt. The concert is part of the Betty Aierstock Moore Memorial Concert series, which pays tribute to the late Moravian alumna whose gift helped make Moravian an All-Steinway school.

Taub, a Steinway Artist and Princeton pianist, specializes in the music of Beethoven and 20th century composers. He’s performed as guest soloist with the world’s leading orchestras and conductors, and presented solo concerts in the Great Performers Series at New York’s Lincoln Center, and many other major series and festivals.

Taub’s recordings of the complete Beethoven Piano Sonatas have been praised for their insight, freshness and emotional involvement. Taub also is a champion of new music. He premiered piano concertos by Milton Babbitt and Mel Powell, and made the first recordings of the Persichetti Piano Concerto with the Philadelphia Orchestra.

“What unites the afternoon lecture and the evening concert is the idea of pushing the boundaries,” says Larry Lipkis, professor of music and composer-in-residence at Moravian. “The pieces Taub will perform are works where composers have gone farther than they ever had before, and could never go back to where they had been.”

Beethoven’s Sonata Op. 53,”Waldheim,” is a perfect example. The piece, which musicologists often label as the beginning of Beethoven’s “heroic” period, has “expressive qualities that push to new heights the limits of what could be demanded from the piano. It was with this piece that Beethoven entered into heretofore uncharted compositional musical territory,” Taub says in his program notes.

Scriabin’s break from tonality, though a gradual one, was a turning point for the composer. The transition to his novel harmonic language was a gradual one, and led to the use of his “mystic chord” for the first time in his C Major Sonata, Op. 53. Also called the “Prometheus chord,” it is a complex, six-note collection made up of the notes C, F-sharp, B-flat, E, A and D.

Of course, Beethoven and Brahms no longer shock modern audiences, as they did in their own time. But Schoenberg and Babbitt are still as challenging for many as Kandinsky’s paintings.

Of Babbitt’s piano works, Taub writes, “It is dazzling, highly imaginative pianism — enormous registral leaps, juxtaposition of dynamic extremes, highly complicated rhythms and innovative pedal techniques.” Taub will perform Babbitt’s “Reflections for Piano and Synthesized Tape” of 1974.

Schoenberg was a composer and a painter, whose early works in each medium revel in Classical and Expressionist styles. “He forged his own, unprecedented musical path when he merged melody and harmony in an effort to clarify ambiguous harmonic contexts of late Romanticism,” Taub writes. The Klavierstuck, Op. 33, composed in 1929, is an example of Schoenberg’s monumental technique in employing musical motives without references to tonal keys and their assumed hierarchy.

Pianist Robert Taub, 11:45 a.m. lecture, 7:30 p.m. concert Thursday, Peter Hall, Moravian College, Main and Church streets, Bethlehem. Admission: $15, general admission; $10, seniors and students. 610-861-1650, www.moravian.edu/music

Satori trios program

Although there are four musicians involved and four works on the program that the chamber ensemble Satori will present on Saturday, three is the magic number of the evening. That’s because the pieces to be performed — by Haydn, Ibert, Von Weber and Shostakovich — are all trios.

The concert is at Hope United Church of Christ in Salisbury Township.

The program features Haydn’s Divertissement No. 6, Op. 100 for flute, violin and cello; Carl Maria von Weber’s Trio in G Minor, Op. 63, for piano, flute and cello; Shostakovich’s Piano Trio No. 2, Op. 67, and Jacques Ibert’s “Aria” for flute, violin and piano.

A trio version of Ibert’s “Aria” might be the rare bird on the program. Written in 1930 as a vocalise (song without words) for voice and piano, the vocal version is seldom heard in concert. Yet its vocal range and style lends itself well to instruments, and several arrangements and transcriptions were produced by the composer and many others. Of these, the most popular remain the arrangements for flute and piano, and for alto saxophone and piano.

The other three works were scored as trios from their inception. Von Weber’s trio shows off the mellow tones of the clarinet in his elegant, cultivated writing. Haydn’s Divertissement is an enjoyable example of the everyday sort of chamber music he produced in such profusion. Shostakovich’s Piano Trio, written in 1944, is a lamentation for both the composer’s close friend, musicologist Ivan Sollertinsky and the victims of the Holocaust. It is his first work to employ a “Jewish theme” — a musical tribute that uses the scales and rhythms of Jewish folk music as Shostakovich knew it.

Performing are Nora Suggs, flute; Rebecca Brown, violin; David Moulton, cello; and Martha Schrempel, piano.

Satori, 7:30 p.m. Saturday, Hope UCC, 1031 Flexer Ave., Salisbury Township. Tickets: $15; $5 under 12. 610-435-6036, www.satori-chambermusic.org.

Eugene Albulescu piano recital

On Sunday, the L’Archet Concert Group, headquartered at East Stroudsburg University, will feature the second in a series of three piano recitals by Eugene Albulescu, Lehigh University professor of music and director of the Lehigh University Philharmonic.

Entitled “The Romantic Piano,” the series featuring some of the Romantic era’s greatest masterpieces will be performed by a pianist celebrated for his power, intelligence and blazing virtuosity. The program features “Four Pieces for Piano” (“Klavierstucke”), Op. 119 by Brahms, the F Major Piano Sonata by Sibelius, and works by Franck and Scriabin.

Albulescu is a Steinway Artist, a distinction that brings with it a number of perks. Most exciting for audiences is the fact that Jacobs Music will bring a Steinway 9-foot concert grand to each of the performances.

The series concludes May 14, with Schumann’s “Carnaval” and Mussorgsky’s “Pictures at an Exhibition.”

Eugene Albulescu Piano Recital, 2 p.m. Sunday, Cohen Hall, East Stroudsburg University, 200 Prospect St. Tickets: $25; $20, seniors; $15, students. 917-716-9245, www.larchetconcertgroup.com.

Allentown Band

The Allentown Band strikes up its season Sunday at Christ Church United Church of Christ in Bethlehem. The program, part of the church’s concert series, features soloists Gregory Seifert, trumpet, and Chet Brown, vocals.

Seifert will solo in an arrangement of Andrew Lloyd Webber’s “Music of the Night” from “Phantom of the Opera.” Brown, a faculty member of Lehigh Valley Charter High School for the Arts and a frequent soloist in area ensembles, will sing the Cole Porter favorite “I’ve Got You Under My Skin” and Lee Greenwood’s patriotic “God Bless the USA.”

Also on the program are popular pieces by Rossini, Wagner, Ponchielli and Brahms, including the latter’s Hungarian Dances Nos. 5, 6 and 17.

Allentown Band, 3 p.m. Sunday, Christ Church UCC, 75 E. Market St., Bethlehem. Free. 610-865-6565, www.allentownband.com.

Steve Siegel is a freelance writer.

jodi.duckett@mcall.com

610-820-6704

Copyright © 2017, The Morning Call

3 Reasons Why Brain Research Should Guide Arts Scheduling in Schools

MARCH IS MUSIC IN OUR SCHOOLS MONTH!Music In our Schools Month® (MIOSM®) was designed to raise awareness of the importance of music education for all children, and to remind citizens that school is where all children should have access to music. During MIOSM, music educators and students throughout the United States and overseas are demonstrating the powerful role a quality music program plays in the lives of young people.We are pleased to share this article by National Association for Music Education member, Tony Mazzocchi.

3 Reasons Why Brain Research Should Guide Arts Scheduling in Schools

By NAfME member Tony Mazzocchi

Article originally posted on The Music Parents’ Guide

 

There have been more studies of the brain completed in the past twenty years than perhaps the past 200 years combined.  We all have more access to knowledge about how humans learn that we have ever had before.  These brain studies have shown us many things, including how children learn in different ways, how learning changes physical brain structure, and that “talent” as we know it is generally learned and developed — not inborn and inherent.

Yet our public school schedules and offerings have remain unchanged, for the most part, for decades.

As far as school subject offerings are concerned, an abundance of research continues to show that arts education has a profound effect on a child’s life, both within and beyond school walls.  But here is the rub: Some of the most crucial life skills that studying music imparts on a child is not quantified and reflected on the current iteration of local and state report cards — therefore, science has been all but ignored by legislators and administrators.

Regardless of the many reasons to study art for arts’ sake, brain research (and the subsequent data from it) should be more than enough to ensure that the arts are not only offered in their unfettered forms, but are infused into every nook and cranny of school curricula.

Here are three vital human characteristics that research of the brain has shown music provides all students in their school day:

A strong sense of empathy.  A quick glance at the news will show you all the reasons why it’s imperative our children develop their capacity for empathy; they must develop empathy if they are to thrive in family life, at school, and later, in the workforce.  We know now that great leaders have a high level of emotional intelligence, which is built upon a strong sense of empathy.  Attaching emotion to words and music and picking up nuances of speech and sound is a key element of empathy and emotional intelligence. Students in a musical ensemble collaborate in unique and profound ways, and connect with each other on an emotional level. Where else does a child have a chance to develop this sense in school?

Health, discipline, and grit.  Besides attaining proficiency in reading, writing, and math, education systems should exist to develop far more than that in our children, yet we have dropped our compass during our current obsession with accountability only through metrics (grades).  The more our Boards of Education and administrators lose their way in this regard, the more our communities must remind the system of what is truly important for human development. Research is proving  that studying music brings children life-long health benefits, specifically in regards to cognitive function.  Even though I believe we are stunting our children’s growth by insisting they sit and “pay attention” for longer periods of time than is healthy, we know that children learn to sustain their attention for longer periods through music study.

In our instant-gratification world, developing discipline and patience is more important than ever before.  Developing discipline through arts engagement is more fun and rewarding over time than other academic endeavors.  Although all subjects are important, the idea of “cross-training” the brain to develop various habits of mind should be a crucial charge of public education, in my opinion.  Scientific study is supporting what music educators have known all along:  learning a discipline and developing skills over time enhances children’s brains.

 

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We need to teach our children that working harder and smarter is something they can control — and music consistently gives them rewarding feedback through sound as to how they are doing.  While education reform will hopefully catch up with the old yet often-neglected idea of cultivating grit, music education has been providing children the opportunity to develop it for ages — and every school in our nation must embrace music education in its curricula for music’s beauty and its benefits in this regard.

Closing the Achievement Gap.  The more neuroscientists continue to conclude that learning music has a unique role in brain development, the more schools must experiment with their schedules at the Pre K-5 level to incorporate it daily — not only once a week.  Instead of mandating two-hour “blocks” of math and English Language Arts for struggling students, schools could utilize daily music instruction to improve cognitive function and track the resulting data over the course of four to five years.  We have tried it the “other” way — when will we choose a different route to brain development that is rich in the arts?

The beauty and power of music instruction for all students at the Pre K-12 level is proving to be more real every day.  This is not made up lip service — it has been, and continues to be, proven by brain research.  Just because administrators and school leaders may not have grown up enjoying all the arts had to offer does not mean it will not deeply benefit our current generation and should therefore be ignored.

It’s time for our schools to embrace neuroscience and music education in order for our children to grow up to become beautiful humans with better functioning brains.

 

About the author:

Tony Mazzocchi

GRAMMY® nominated music educator, NAfME member Anthony Mazzocchi has performed as a trombonist with the Los Angeles Philharmonic, New Jersey Symphony, San Diego Symphony, San Diego Opera, Riverside Symphony, Key West Symphony, in various Broadway shows and numerous recordings and movie soundtracks.

Tony has served as faculty or as a frequent guest lecturer at The Juilliard School, Manhattan School of Music, New York University, and Mannes College of Music. He has taught students from K-college, and has served as a district Director of Fine and Performing Arts in the South Orange/Maplewood School District.  Tony has been a consultant for arts organizations throughout the NY/NJ area.

Tony blogs about how to be a successful music parent at The Music Parent’s Guide, and the book by the same name can be bought here. He has written a method book for music teachers called The Band Director’s Method Book Companion.

Tony is currently Associate Director of the John J. Cali School of Music at Montclair State University in New Jersey.  He is also Executive Director of the Kinhaven Summer Music School in Weston, Vermont. Tony is a clinician for Courtois – Paris.

Steinway Society of Princeton Presents LUIZ SIMAS at Jacobs Music of Lawrenceville on Sunday March 19th at 3:00 p.m.

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Luiz Simas, a longtime fixture on the New York jazz scene, will be the Greater Princeton Steinway Society’s guest artist for its final musicale of the 2016-17 season on Sunday, March 19. The concert will be a return engagement for Mr. Simas, who performed previously for Steinway Society audiences in 2006 and 2012. It will take place at 3 p.m. in the Recital Hall at Jacobs Music, 2540 Brunswick Pike (U.S. Route 1), Lawrenceville, NJ.  A social hour with refreshments and conversation with Mr. Simas will follow his performance.

Born in Rio de Janeiro, Brazil, Mr. Simas has lived in New York since 1989, where he combines his talents as a composer, singer, and pianist. In demand at music clubs worldwide, he has appeared regularly at New York’s Cobi’s Place and Birdland Jazz Club, and given sold-out concerts at the renowned Mistura Fina Jazz Club in Rio de Janeiro. He has also played at such festivals as the Oslo Jazz Festival in Norway, Odessa Jazz Festival in Ukraine, Rocky Mountain Ragtime Festival in Boulder, Colorado, and the Hartford International Jazz Festival in Connecticut. The venues for his solo piano concerts and shows with his accompanists have included the Weill Recital Hall at Carnegie Hall, consulate of Poland, Merkin Concert Hall in New York, and the Elebash Theater at CUNY, among many others. His style of composition and performance is influenced by classical, jazz, and bossa nova, along with Brazilian popular, traditional, and modern music.

The first of his many recordings in the U.S., “New Chorinhos from Brazil,” was hailed by the reviewer Titus Levis in Keyboard Magazine, who wrote that “Luiz’s playing is sassy, clear, vibrant, yet understated…his music sounds fresh, smart, and witty.” Egídio Leitão, a reviewer for the website Luna Kafe, added that “Luiz Simas has done an outstanding job. His recording is by far the very best choro release out of Brazil in recent years…superbly performed.” Mr. Simas’ newest CD, titled “Cafuné,” includes 13 original songs featuring lyrics (in Portuguese) and arrangements by the composer, who performs lead vocals and piano on the album.

Mr. Simas’s program will feature original piano compositions and improvisations in various Brazilian styles in addition to pieces by Ernesto Nazareth, Jacob Bittencourt, and Carlos Jobim.

The Greater Princeton Steinway Society’s 2016-17 season will conclude with its annual scholarship competition for young pianists ages 7-18 that will culminate in a Winners Recital in May 2017. The Winners Recital will also take place at Jacobs Music.

Founded in 1989, the Steinway Society is dedicated to developing the talent of young piano students. All proceeds from ticket sales help fund scholarship awards for aspiring young pianists.

Steinway Society memberships are $50 per individual or $85 per family and include admission to all six musicales. Tickets for individual musicales are $18 for adults or $10 for full-time students, and may be purchased at the Jacobs Music Recital Hall 30 minutes before each program. Benefactors contributing $100 and up, and Sponsors contributing $250 or more, also earn admission to all six musicales, plus recognition in the concert programs.

For more information, visit www.steinwaysocietyprinceton.org. To receive email notifications of upcoming musicales, send an email to  steinwaysoc@gmail.com. Seating is limited, so patrons are advised to arrive early to assure a seat.

TO RSVP, PLEASE CONTACT: RANDY BROWN, JACOBS MUSIC at (609) 434-0222

 

FREE MUSIC LESSONS ARE OFFERED AT TWO JACOBS MUSIC LOCATIONS FOR “TEACH MUSIC AMERICA” WEEK – MARCH 20-26

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The 3rd Annual “TEACH MUSIC AMERICA” will be celebrated from March 20th to March 26th . During this week, the organization, Keep Music Alive is encouraging musicians and music schools across the country to offer one free 30 minute lesson to new interested students.

JACOBS MUSIC IS JOINING IN THE CELEBRATION by offering one free lesson to the first five prospective students who apply at our Cherry Hill, NJ and Willow Grove, PA locations. We encourage interested music students (children and adults) to contact us in Cherry Hill at 856-663-8888 or in Willow Grove at 215-658-0888 and be among the first five new students at each location to call and benefit from this unique opportunity; and let your friends know about our FREE introductory lesson and how much FUN it is to make music!

Teach Music America Week is held every year during the 3rd week of March to coincide with National “Music in Our Schools Month” (MiOSM). Vincent James, founder of “Keep Music Alive” states: “We all know that sometimes the biggest hurdle to doing something is just getting started. With Teach Music America, we are hoping to give birth to a multitude of new musicians who will continue playing music long after the month of March is over.”

Keep Music Alive is an organization dedicated to promoting the value of music in our world: educationally, therapeutically and overall making us a happy society. They have published the book “88+ Ways Music Can Change Your Life” featuring over 150 inspirational music stories from musicians, music teachers and music fans from around the world including a number of celebrities. 50% of the proceeds from “88+ Ways Music” are donated to organizations that provide instruments and music instruction to schools and communities in need. Current beneficiaries include Guitars in the Classroom, Spirit of Harmony and Mr. Hollands Opus Foundation.

Westminster announces partnership with Jacobs Music Company and Steinway & Sons

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FESTIVAL PLACEMENT PROGRAM BRINGS EIGHT STEINWAY PIANOS TO CAMPUS

03/06/2017

Rider University’s Westminster College of the Arts is delighted to announce a new partnership with Jacobs Music Company and Steinway & Sons, which will bring eight Steinway & Sons grand pianos to the Westminster campus, including a Steinway Model D, nine-foot concert grand.

Part of Steinway’s Festival Placement Program, in addition to bringing eight new Steinway & Sons pianos to Westminster, the partnership includes a master class for Westminster students with Steinway Artist Sandra Rivers, one of the world’s preeminent collaborative pianists. Professor of Collaborative Piano at the University of Cincinnati College-Conservatory of Music, Ms. Rivers has performed with some of our era’s leading singers and instrumentalists, including Kathleen Battle, Itzhak Perlman, Joshua Bell and Sarah Chang.

Another partnership benefit will be a private guided tour of the Steinway Factory for students and friends of the College. To mark this new relationship, Jacobs Music Company is establishing the Jacobs Music Steinway Award, which will include an annual scholarship for a Westminster Choir College piano student.

“Jacobs Music Company is pleased to enter into this partnership with Rider University’s Westminster College of the Arts,” says Jacobs Music’s Senior Vice President Robert A. Rinaldi. “The selection and arrival of these Steinway & Sons pianos is a significant symbol of Westminster’s commitment to its present and future piano program.”

“On behalf of the entire Piano faculty and students, I would like to express our gratitude to Bob Rinaldi and Jacobs Music Co. for their amazing generosity and support for the piano program at Westminster Choir College,” says Professor Ingrid Clarfield, head of Westminster’s piano division. Our future now looks brighter than ever!”

Clarfield and other faculty members will visit the Steinway & Sons factory on March 30 to select the Steinway Model D, nine-foot grand for the Westminster campus.

Westminster Choir College offers a Bachelor of Music in Piano, a Master of Music in Piano Performance, in Piano Pedagogy and Performance and in Piano Accompanying and Coaching.  Founded in 1900, Jacobs Music Company is the area’s exclusive representative for new and authentically restored Steinway & Sons, Steinway-designed Boston and Steinway-designed Essex pianos.  Considered the world’s finest pianos, Steinways are played by more than 97 percent of all concert pianists performing with major symphony Orchestras around the world.

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HISTORIC LIVE BROADCAST FROM WRTI

Andy Kahn; Ching-Yun Hu; WRTI General Manager, Bill Johnson; Jacobs Music Senior Vice President, Bob Rinaldi; WRTI Major Giving Officer, Tara Webb Duey at the WRTI first-ever live broadcast.

March 3, 2017 – For the first time ever, WRTI broadcast live from its Performance Studio as the station joined in the celebration of the 164th Anniversary of Steinway & Sons with a live, on-air performance by Steinway Artist, Ching-Yun Hu in an all-Rachmaninoff program hosted by WRTI’s Kevin Gordon. This was followed by jazz pianist, Andy Kahn with host, Jeff Duperon, as they explored the Great American Songbook. Both pianists performed on the station’s beautiful new Steinway Spirio. Thank you WRTI for joining Jacobs Music in this historic celebration of Steinway!

Steinway Artist, Ching-Yun Hu prior to her live broadcast from the WRTI Performance Studio
Steinway Artist, Ching-Yun Hu at the entrance of WRTI.
Ching-Yun Hu at the Steinway Spirio with WRTI Classical Host, Kevin Gordon and a photographer prior to the broadcast.
Ching-Yun Hu at the Steinway Spirio with WRTI Classical Host, Kevin Gordon and a photographer prior to the broadcast.
Andy Kahn on air at the Steinway Spirio with WRTI Jazz Host, Jeff Duperon.
Andy Kahn on air at the Steinway Spirio with WRTI Jazz Host, Jeff Duperon.
WRTI jazz host, Courtney Blue with Andy Kahn, following his on-air performance on WRTI's new Steinway Spirio.
WRTI jazz host, Courtney Blue with Andy Kahn, following his on-air performance on WRTI’s new Steinway Spirio.

 

A TALE OF TWO PIANOS – THE STEINWAY WHITE HOUSE PIANO IN MINIATURE – This miniature Steinway is a fully functional 1:7 scale grand piano.

steinway-white-house-miniature-piano SIXTEEN YEARS IN THE MAKING

The Steinway White House Piano in Miniature is a precise replica of the art case STEINWAY grand piano that was presented to President Theodore Roosevelt as a gift from the STEINWAYfamily to the people of the United States in 1903. The miniature was created by master artist Paul Gentile, who spent more than sixteen years conceiving, crafting, building, and finishing the work. It is not a miniature that simply looks like a piano. It is a fully functional 1:7 scale grand piano, the first non-company instrument ever to earn the designation of STEINWAY & SONS piano.

 A TALE OF TWO PIANOS

The original 1903 Steinway White House piano served through the administrations of Theodore Roosevelt, William H. Taft, Woodrow Wilson, Warren G. Harding, Calvin Coolidge, Herbert Hoover, and Franklin Roosevelt; it was then donated to the Smithsonian Institution’s National Museum of American History. The gilded case of the piano was carved by Juan Ayuso with the seals of the thirteen original American colonies applied in marquetry along the sides. Thomas Dewing’s allegorical Impressionist painting on the top depicts the nine muses: Clio (history), Calliope (epic poetry), Melpomene (tragedy), Euterpe (music), Polyhymnia (religious music), Thalia (comedy), Terpsichore (dancing), Urania (astronomy), and Erato (lyric poetry).

Paul Gentile’s 1:7 miniature of this legendary instrument stays true to every single aspect of the piano’s mechanical construction and artistic finishing. Working by hand and often with the aid of a jeweler’s loupe, Gentile replicated all 12,000 parts required to build an actionable STEINWAY piano. For many of these parts, he had to first build miniature tooling, including a scale replica of the venerable rim press devised and patented by the STEINWAY family in the 1870s.

The casting of the iron plate was completed by the O.S. Kelly Foundry in Springfield, Ohio, the same company that has been casting the iron plates for all STEINWAY pianos since 1938. The foundry created the miniature plate using a pattern that Gentile machined and prepared after taking hundreds of measurements from a full-size STEINWAY plate and transferring the dimensions to a smaller scale. The sand recipe for the mold was customized to capture all the surface details on the plate. It took many attempts to achieve the final casting. Given the rarity of this piece, one mistake in drilling any of the holes for the hitch pins or tuning pins would have ended the entire project.

Gentile finished the art case of the piano with a meticulously-crafted replica of the original instrument, complete with its exquisite top mural, intricate carvings, expansive gilding, and ornate legs. Every piece of the piano was executed with careful consideration for exact replication of the original components created by STEINWAY & SONS craftsmen. The final piece is an homage to an iconic piece of musical tradition and American history.

ABOUT THE ARTIST

Canadian artist Paul Gentile was born in Quebec and currently lives near Toronto. His work in miniatures has won the acclaim of fine artists and mechanical craftsmen for its incredible attention to detail and integrity of construction. His renowned “Gentile Collection” of famous historic classical instruments included remarkably detailed, historically accurate miniatures of the 1679 Heller Stradivarius Violin; the Selmer Mark VI alto saxophone; the 1688 Antonio Stradivari Guitar; the 1701 Antonio Stradivari “Servais” Cello; the 1785 Vincenzo Panormo Double Bass; and the 1931 Eugene Sartori Double Bass Bow. Two of each piece were created; one set has been sold, and the other is available for acquisition.

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This one-of-a-kind masterpiece by artist Paul Gentile is a fully-functional replica of the stunning 1903 Steinway White House grand piano. It is available for acquisition for $18 million.

Historic Live Broadcast from WRTI Performance Studio Celebrates Steinway: Friday, March 3, 5:30 PM!

The WRTI performance studio

Jacobs Music is pleased and proud to share this announcement by WRTI:

FEB 27, 2017

Join WRTI as we broadcast live—for the first time ever—from our performance studio this Friday, March 3rd at 5:30 pm, to help celebrate the 164th Anniversary of Steinway & Sons. WRTI and Jacobs Music present Steinway Artist and Temple University faculty member Ching-Yun Hu in a live, all-Rachmaninoff performance on the WRTI Steinway Spirio piano. Kevin Gordon hosts.

And after the news at 6 pm, we don’t let the piano cool down, as it’s live jazz on the Steinway! Jeff Duperon hosts.

Pianist Ching-Yun Hu is on the faculty at Temple University's Boyer College of Music and Dance. She's a Steinway Artist.
Pianist Ching-Yun Hu is on the faculty at Temple University’s Boyer College of Music and Dance. She’s a Steinway Artist.

Leading up to this special event, all this week, WRTI will play some of the great Steinway Artists from the past and present—classical at 5:30 pm and jazz after the news at 6 pm.

The classical Steinway Artists line up like this:
On Monday at 5:30 pm, it’s Van Cliburn playing Edward MacDowell (both Steinway Artists). Tuesday, George Gershwin plays Gershwin by way of piano roll. Wednesday, Yuja Wang plays Rachmaninoff (both Steinway Artists). Thursday, it’s Arthur Rubinstein.

And for jazz at 6:05 pm:
Monday, Elio Villafranca; Tuesday, Joey Alexander; Wednesday, Ahmad Jamal; Thursday, McCoy Tyner.

Make sure to then tune in Friday March 3rd from 5:30 to 6:30 pm for an hour unlike anything you’ve heard: live performances broadcast straight from the WRTI Performance Studio.

Only on WRTI, on the all-classical and all-jazz streams at WRTI.org, and on the WRTI app!