Skip to main content
Select Source:

Liberace

Liberace

Pianist

Displayed Talent at Young Age

Developed Unique Style

Master of Showmanship

Selected discography

Sources

A flamboyant musical showman, Liberace is remembered for his extravagant costumes and campy stage presence as much as for his talent as a pianist. The countrys highest paid piano soloist for nearly 30 years, Liberace combined florid renditions of popular songs with abbreviated versions of the classics in a show that became a Las Vegas mainstay. His decision to reach for every excess and embrace it with just a hint of self-mockery paved the way for such androgynous superstar musicians as Michael Jackson, Boy George, and Elton John.

Newsweek correspondent Bill Barol described a Liberace concert at Radio City Music Hall: Liberace flew in from the wings suspended on a wire; introduced his valet/chauffeur, put on a purple sequined-and-feathered robe; took it off; played Chopin on a Lucite piano with lacework trim; did a soft shoe; bestowed a selection of gifts on an audience member; shamelessly plugged his new book and Las Vegas restaurant; drove onstage in a red, white and blue Rolls-Royce; peeled away a red, white and blue sequined-and-feathered robe to reveal red, white and blue satin hotpants, and grabbed a red, white and blue sequined baton to lead the Rockettes in The Stars and Stripes Forever. This was all before intermission.

Liberace constantly strove to outdo himself, and his audience never grew tired of seeing his extravagant and warmly amusing displays. New Republic correspondent Edward Rothstein wrote that Liberaces was a material version of dazzling splendor, found in minks and jewels and capes and glitter. But it is an image of the classics refracted through rhinestones and diamondspuffs of smoke rising from the floor.

Displayed Talent at Young Age

Throughout his life, Liberace was coy about his personal relationships. Biographers who sought to discuss his homosexuality were summarily dismissed, and only an official coroners report revealed that he died of complications of acquired immune deficiency syndrome (AIDS). In a People magazine obituary, Michelle Green noted that at his death the world lost an exotic originala sweet-natured self-promoter who, for all of his extrovert showiness onstage, had been something of a lost soul. The reporter continued: Liberaces was a life of exquisite paradox; for flamboyance and repression, kitsch and concealment.

Liberace was born Wladziu Valentino Liberace in 1919 in West Allis, Wisconsin. One of four children, he was the son of a french horn player who eventually earned a spot with the Milwaukee Philharmonic Orchestra. Liberace

For the Record

Born Wladziu Valentino Liberace, May 16, 1919, in West Allis, WI; died of cytomegalovirus pneumonia resulting from AIDS, February 4, 1987, in Palm Springs, CA; son of Salvatore (a musician) and Frances (a grocery store operator and bakery employee) Liberace. Education: Attended Wisconsin College of Music.

Pianist and musical entertainer, 1929-87. As a young teen, played piano in speakeasies and movie theaters; member of Works Progress Administration Symphony Orchestra, c. 1936; professional solo perfomer, 1939-87; recorded with Columbia Records, beginning in the 1950s; appeared on television in The Liberace Show, 1952-56, and as guest on numerous other programs; concert performer in Las Vegas and on national and international tours, 1952-86.

showed his musical talent early, learning to play the piano by ear when he was only four. At first his father tried to discourage his interest in piano, but timely praise from Polands most noted pianist, Ignace Jan Paderewski, made the way clear for a musical career.

Tensions remained high in the Liberace household, however. Calling himself Walter Busterkeys, the young pianist made the rounds of speakeasies and movie theaters, earning wages for playing the popular melodies of the time. This infuriated his father, who was devoted to the classics. Liberaces emotional difficulties surely sprang from his unsatisfactory relationship with his harsh father, wrote Green. While proud of his sons musical abilities (the boy won a piano scholarship and later played with the Chicago Symphony), Salvatore was bitterly opposed to the popular music that his son loved. But songs like Sweet Jennie Lee were the budding musicians preference, and to help keep the family afloat, young Liberace gladly played piano in silent-movie houses. Relations between father and son were further strained when Liberace discovered that his father had a mistresshis parents eventually divorced.

Developed Unique Style

At the age of 17, Liberace was offered a place with the federally funded Works Progress Administration Symphony Orchestra. This in turn led to a scholarship to the Wisconsin College of Music and to concert appearances in many major cities. He developed his trademark style quite by chance in 1939, when, after a classical recital, his audience requested a rendition of the popular tune Three Little Fishes. Liberace launched into the number, giving it impromptu, quasi-classical flourishes, and brought the house down. His sudden idea on how to make piano playing pay won him bookings at the Persian Room of the Hotel Plaza in New York City and other large nightclubs. By 1947 he was traveling with his own custom-made piano, an oversized Bluthner grand, insured for $150, 000. He also decked his instrument with a candelabra, borrowing the idea from a Hollywood motion picture about composer Frederic Chopin.

Liberace was the star of the very first syndicated television program, The Liberace Show, filmed in Los Angeles. The show began in 1952 and quickly established Liberace as televisions first matinee idol. Within two years it was being carried by more stations than either Dragnet or I Love Lucy. The performer added to his popularity by making frequent live appearances, in one instance drawing a sellout crowd13,000 women and 3,000 mento Madison Square Garden on May 26, 1954.

The star suffered a setback in 1956, though, during a tour of England. One of the newspapers there hinted at his homosexuality, prompting a quick lawsuit from the entertainer for defamation of character. Liberace won the case, but his popularity in the United States plummeted. He sought to remedy the matter by appearing in more conservative dress and offering more conservative concerts, but by the early 1960s he realized that he could draw more customers by capitalizing on his kitsch. He amassed a wardrobe worth millions, including lavish fur coats that could weigh as much as 150 pounds, and he joked, sang, and even danced during his concerts.

Master of Showmanship

Critics wereand aredismissive about [Liberaces} recordings, Green claimed. Few dispute the fact that he possessed talent; but the consensus is that it was showmanship, rather than technique, that was his forte. Liberace could play Chopins famed Minute Waltz in 37 seconds and a truncated version of Beethovens Moonlight Sonata in approximately four minutes. His classical repertoire was often performed in abbreviated form because he felt he would lose the audiences attention otherwise. Rothstein called the entertainer a representative of our time who was simply an exaggeration of the character of our musical life, which itself is a distorted, peculiar transformation of nineteenth-century musical culture, thriving on invoked images, ritualistic signs, and commercial energies.

Nevertheless, Liberace did indeed exert an influence on modern popular music. As Barol put it, his apparent homosexualitynot acknowledged but not exactly hiddenmust have given hope to millions of closeted gays in less open years. Liberaces legacy lives on in the exuberant piano work of Elton John and Billy Joel as well as in the eye-catching costumes of Michael Jackson, Prince, and Little Richard.

Afflicted with heart disease and emphysema, Liberace nevertheless performed regularly until the autumn of 1986. It is estimated that he earned $5 million each year during the 1970s and 1980s. He spent lavishly on himself, his costumes, and his friends. However, he also became a serious patron of the fine arts by creating a Liberace Museum; profits from the museums admission fees provide college scholarships to needy classical musicians.

Early in 1987 Liberaces condition deteriorated, and he died at his home in Palm Springs, California. To the time of his death he denied rumors that he was homosexualeven after a former chauffeur brought a palimony suit against him. An official autopsy ruled that the pianist died as a result of AIDS. His many fabulous artifacts, costumes, and furniture were disbursed at a much-publicized auction.

Liberace was never considered a serious concert musician. The critical barbs did little to deflate his spirit, though. For years his theme song was I Dont Care, as he joked about his vast earning power. Behind the surface glitter of Liberaces image lay a solid grounding in classical music and the ability to transmit that music to a public that just wanted to hear popular songs. As Barol concluded, the ebullient Liberace never disappointed an audience. It is a measure of his talent that he made the two biggest celebrity cliches ring quite true: there was no one else like him, and he will never be replaced.

Selected discography

Heres Liberace, MCA, 1968.

Greatest Hits, Columbia, 1969.

Concert Favorites, 3 volumes, Columbia, 1986.

16 Most Requested Songs, Columbia/Legacy, 1989.

The Golden Age of Television, Curb/CEMA, 1991.

Liberace Remembered, USA, 1992.

The Artistry of Liberace, MCA.

The Best of Liberace, MCA, reissued, RCA-Camden.

Liberace Christmas, MCA.

Liberace Plays Moon River and Other Great Songs, Richmond.

Twas the Night Before Christmas.

Sources

Books

Thorson, Scott, and Alex Thorleifson, Behind the Candelabra: My Life With Liberace, Dutton, 1988.

Periodicals

American Weekly, July 18, 1954.

Life, December 7, 1953.

New Republic, July 2, 1984.

Newsweek, February 22, 1954; May 7, 1984; February 16, 1987.

New Yorker, June 5, 1954.

People, February 16, 1987; April 25, 1988.

Time, February 16, 1987.

Washington Post, February 5, 1987.

Anne Janette Johnson

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Liberace." Contemporary Musicians. . Encyclopedia.com. 17 Aug. 2017 <http://www.encyclopedia.com>.

"Liberace." Contemporary Musicians. . Encyclopedia.com. (August 17, 2017). http://www.encyclopedia.com/education/news-wires-white-papers-and-books/liberace

"Liberace." Contemporary Musicians. . Retrieved August 17, 2017 from Encyclopedia.com: http://www.encyclopedia.com/education/news-wires-white-papers-and-books/liberace

Liberace

LiberaceApache, catchy, patchy, scratchy, snatchy •hibachi, Karachi, Liberace, starchy, vivace •sketchy, stretchy, tetchy •squelchy • Strachey •caliche, Campeche, peachy, preachy, screechy •bitchy, itchy, kitschy, pitchy, Richie, titchy, twitchy •Medici • semplice •blotchy, bocce, notchy, splotchy •grouchy, pouchy, slouchy •sotto voce, viva voce •Bertolucci, smoochy, Vespucci •archduchy, duchy, touchy •churchy

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Liberace." Oxford Dictionary of Rhymes. . Encyclopedia.com. 17 Aug. 2017 <http://www.encyclopedia.com>.

"Liberace." Oxford Dictionary of Rhymes. . Encyclopedia.com. (August 17, 2017). http://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/liberace

"Liberace." Oxford Dictionary of Rhymes. . Retrieved August 17, 2017 from Encyclopedia.com: http://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/liberace