#Movie son music prodigy find him movie
#Movie son music prodigy find him professional
#Movie son music prodigy find him series

#Movie son music prodigy find him professional

Min Yoon-gi, best known under his professional stage names Suga and Agust D, is one of the seven extraordinarily talented men who make up the South Korean band known as BTS (aka Bangtan Sonyeondan) and the more you get to know Suga, the more you start to realize that there are many layers to the musician/singer/dancer/composer - each more intriguing than the last. His legacy was saved from oblivion by a hair’s breadth.Min Yoon-gi aka SUGA (photo credit: Big Hit Music / Article written by: Tiffany Vogt, posted July 17, 2021) CBS Records issued two LPs of new Nyiregyhazi recordings. Benko was astounded, and Nyiregyhazi’s years of obscurity were effectively over. He sent the tape to Gregor Benko of the International Piano Library in New York. A man in the audience taped it on a cassette. On May 6, 1973, Nyiregyhazi gave a recital at the Old First Church in San Francisco. One of his compositions was titled “It’s Nice to Be Soused.” He was always composing music, he said, contentedly sipping bourbon. If his life struck others as depressing and tragic, Nyiregyhazi claimed otherwise. The former prodigy continued living in skid row hotels in L.A. He was, according to his biographer Kevin Bazzana, “a magnet for women.” All told, he had 10 wives and countless affairs, including a tryst with Gloria Swanson.

Bela Lugosi, who always welcomed fellow Hungarians into his home, took Nyiregyhazi in and had him perform there often. He made cameo appearances in a few films. In 1928, he took a job with United Artists, orchestrating and arranging film music.

#Movie son music prodigy find him movie

Still, he occasionally played in movie theaters, at churches and at private Hollywood parties. He later claimed that he’d always hated performing, saying it reminded him of being under his mother’s thumb. He moved into a cheap hotel on Main Street, the first of many. Gradually, Nyiregyhazi gave up on a concert career. All evidence indicates, however, that at this point he didn’t even care. But he may have sensed, in between scattered recitals for the Women’s Symphony Orchestra of Los Angeles or at the “Miniature Bowl” in Eagle Rock, that he was now a fish out of water. For a young, upstart city it was a supreme treat and compliment to have the darling of Carnegie Hall and the “crowned heads of Europe” living in, of all places, Hollywood. Naturally, Los Angeles was glad to have him.

In 1928 he moved to L.A., more or less permanently. Ervin Nyiregyhazi … plays so hard that the rafters in the auditorium shake.” To the unlearned student his noisy playing is apt to be a dangerous tonic.”įrom 1928: “Certainly it is unusual to discover Liszt treating the piano as a percussion instrument … whether Liszt intended that effect for this particular composition or not is another question. At his present age of 19 he plays more concertos than he is years old he plays more than sixty of the most difficult of Liszt’s compositions, and … he has appeared in public throughout most of Europe and America since the age of 5.”īut reactions to Nyiregyhazi’s “clangorous” Romantic style from L.A.’s classical music establishment were mixed, as can be gleaned from his sometimes humorous notices in The Times:įrom 1924: “Nyiregyhazi has a particular feeling for massive effects, tremendous climaxes which he would not infrequently make continuous if this were possible, and dramatic intensity generally.

#Movie son music prodigy find him series

for a series of concerts in 1923, The Times summed him up in a nutshell: “Ervin Nyiregyhazi … may be termed a genius by mention of the following facts.

Then an ugly, and public, falling out with his manager suddenly soured his name. His dramatic style thrilled some critics and horrified others. He had already performed for European royalty before taking New York by storm, playing Carnegie Hall in 1920. From memory, he could play piano pieces he had read but never heard. Revesz recorded that Erwin was composing music by age 6, possessed absolutely perfect pitch and could sight-read the scores of symphonies. A combination of bad luck, bad judgment and perhaps a loss of nerve condemned the Hungarian genius to decades of isolation and poverty in flophouse rooms, living on the fringes of life, both musical and otherwise.Īt 13, he was the subject of a book, “The Psychology of a Musical Prodigy,” by Geza Revesz, who compared the boy to Mozart. But in the history of 20th century classical music, rich with eccentrics though it is, the story of Nyiregyhazi (“NYEER-edge-hah-zee”) stands out. Stories of child actors losing their bearings later in life are common, of course.