Margaret Leng Tan, toy piano, and others
2. John Lenon – Paul McCartney Eleanor Rigby 2:23
3. Toby Twining Satie Blues 6:03
4. Jed Distler Three Landscapes for Peter Wyer 5:42
5. Philip Glass Modern Love Waltz 3:25
6. David Lang Miracle Ear 3:55
7. Toby Twining Nightmare Rag 3:51
8. Julia Wolfe East Broadway 3:30
9. Beethoven Sonata in C-sharp minor (Moonlight) 4:37
10. Guy Klucevsek Sweet Chinoiserie 7:15
11. Raphael Mostel Star-Spangled Etude #3 (Furling Banner) 1:15
12. Erik Satie Gymnope’die No. 3 2:31
The toy piano was intended as an educational tool. The more expensive models stood nineteen to twenty-four inches tall, had raised black notes instead of imitation painted ones, full-width wooden keys and a range of two to three octaves. An instruction manual taught a child such American favorites as Home Sweet Home and Yankee Doodle.
In 1948, John Cage composed his whimsical Suite for Toy Piano which I have recorded on my latest Cage album, Daughters of the Lonesome Isle. Using nine consecutive white notes, this became the first “serious” piece ever written for a toy piano. When I performed this work in 1993, I scoured thrift and antique shops and was fortunate to unearth a Jaymar two-octave upright piano in mint condition. (Jaymar was a rival toy piano manufacturer to Schoenhut in the 1940’s, hence toy pianos bearing the Schoenhut or Jaymar name could be regarded as Lilliputian equivalents to Steinway and Baldwin. During the 1950’s, however, the two toy piano companies merged and because it was a joint venture, some pianos bore the name “Schoenhut”, others “Jaymar”.) Since finding this first toy piano, I have acquired several others including a thirty-seven-key Schoenhut toy grand piano crafted for me in 1995 by Jaymar Toys (recently renamed “Schoenhut Piano Company”).
I remain wholeheartedly intrigued by the toy piano’s magical overtones, hypnotic charm, and not least, its off-key poignancy. In the words of author John David Morley, “Sound combed from the keys of a stairway ascending faintly into sleep”. My composer-friends were similarly beguiled and driven to frenzied heights of creativity by this modest little instrument. What a deceptively simple mechanism -plastic toy hammers hitting steel rods! Albert Schoenhut could hardly have envisaged that at the close of the next century, his brainchild would have been elevated from a treasured plaything to a bona fide musical instrument.
— Margaret Leng Tan
Modern Love Waltz