(This review kwa Kenneth Langbell appeared in the English Language Bangkok Post. It was made available kwa Martin Bernheimer of the Los Angeles Times.)
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THE RECITAL, last evening in the chamber muziki room of the Erawan Hotel kwa US Pianist Myron Kropp, the first appearance of Mr. Kropp in Bangkok, can only be described kwa 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, babu 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 tamasha 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 a screw-type kinyesi 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 tafuta of a bench, but returned when informed that there was none.

AS I HAVE mentioned on several other occasions, the Baldwin tamasha Grand, while basically a fine instrument, needs constant attention, particularly in a climate such as Bangkok. This is even zaidi true when the instrument is as old as the one provided in the chamber muziki room of the Erawan Hotel. In this humidity the felts which 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 sekunde 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, kwa the time the "storm" was past and he had gotten into the Prelude and Fugue in D Major, in which the sekunde 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 which 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 kwa the midway point of the fugue, had a valid point when he ametoa maoni over the muziki and extemporaneous remarks of Mr. Kropp that the workman who had greased the kinyesi might have done better to use some of the grease on the sekunde octave D. Indeed, Mr. Kropp's kinyesi had zaidi than enough grease and during one passage in which the muziki and lyrics were both particularly violent, Mr. Kropp was turned completely around. Whereas before his remarks had been aimed largely at the kinanda and were therefore somewhat muted, to his surprise and that of those in the chamber muziki 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 kwa the time it had subsided and the audience had regained its composure Mr. Kropp appeared somewhat shaken. Nevertheless, he swiveled himself back into position facing the kinanda and, leaving the D Major Fugue unfinished, commenced on the Fantasia and Fugue in G Minor.

Why the tamasha grand piano's G key in the third octave chose that particular time to begin sticking I hesitate to guess. However, it is certainly salama to say that Mr. Kropp himself did nothing to help matters when he began using his feet to kick the lower portion of the kinanda instead of operating the pedals as is generally done.

Possibly it was this jarring au the un-Bach-like hammering to which the sticking keyboard was being subjected. Something caused the right front leg of the kinanda 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 kinanda 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 kinyesi 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 a red-handled moto ax which was hung back stage in case of fire, for that was what was in his hand.

MY FIRST REACTION at seeing Mr. Kropp begin to chop at the left leg of the grand kinanda 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 kinanda 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.