Ballet Mécanique is one of the most radical compositions of the 20th century. The score calls for sixteen player pianos, three xylophones, four bass drums, tam-tam, two grand pianos, seven bells, a fire siren, and even three airplane propellers. At its premiere in 1926, it caused a riot in Paris at the Theatre du Champs Elysées.

The composer was George Antheil, a boyish youngster born in 1900 in Trenton, New Jersey. After a typical American childhood of baseball games, working in his father’s shoe store, and taking piano lessons from his aunt, he dropped out of high school, decided to become a concert pianist, found a patron, a teacher, and a manager, and within a year was on his way to Europe. What happened next, made musical history.

The sensational debut in London in 1921 of this unknown artist, set the stage for the entire tour : his concerts angered critics and scandalized an avid public. Other musicians were baffled, dismissing him as a misguided genius or a publicity hound. But his instincts and ambition were on target, and his career took off. After a year living the high life in Berlin, he moved to Paris, where he became the talk of the town. Influenced by Stravinsky and the futurists, he composed prolifically: a jazzy symphony, virtuoso piano sonatas, daring string quartets, and an unfinished opera with James Joyce (alas, only two pages survive). Ballet Mécanique was one of the most brilliant compositions of the 20th century, and it marked the height of Antheil’s career. The music was revolutionary, unlike anything that had ever been heard before. The Paris performance was an immense success, and the arrival of the gendarmes confirmed in everyone’s minds that Antheil was indeed the genius they had been expecting.

Guy Livingston is a renowned American pianist, living in Europe and he has a fascination for George Antheil. Here he takes us through his life and times.

For track listings and details about the archival interviews please click the small 'show' on the right hand side, below the credits.

Writing Consultant: Aletta Becker

Historical Consultant: Mauro PiccininiRecorded at WOTH Studios in the Netherlands



Many thanks to Lisa Ball, Philip and Lona Livingston, Anders Jallen, Maria Sperling. Cathy Peters and Gretchen Miller.

Historical audio courtesy of the Estate of George Antheil, KPFA, and the Other Minds Radio Archives. In addition to George Antheil we heard the voices of Jerome Moross, Vladimir Golschmann, and Benjamin Lees. Special thanks to Charles Amirkhanian, who had the foresight to conduct these interviews.