Fame
In 1926, he left the Savoy and opened his 'School of Syncopation' which specialised in teaching modern music techniques such as ragtime and stride piano. This in turn, led to the long running correspondence course on 'How to play like Billy Mayerl'. It was during this period that he wrote his most famous solo 'Marigold'. By the late 30's his correspondence school is said to have over 100 staff and 30,000 students. It finally closed in 1957.
On October 28, 1925, Mayerl was the soloist in the London premiere of George Gershwin's Rhapsody in Blue. In December 1926, he appeared with Gwen Farrar (1899–1944) in a short film – made in the Lee DeForest Phonofilm sound-on-film process – in which they sang Mayerl's song "I've Got a Sweetie on the Radio". His song "Miss Up-to-Date" was sung and played by Cyril Ritchard in Alfred Hitchcock's sound film Blackmail (1929).
On Tuesday, 1 October 1929, Billy Mayerl's orchestra performed at the opening of The Locarno Dance Hall in Streatham.
In the 1930s Mayerl composed several works for the musical theatre include Sporting Love, opening at the Gaiety Theatre, London in 1934, Twenty to One (1935), and Over She Goes (1936). In 1938, famed jazz pianist Marian McPartland joined his group "Mayerl's Claviers" under the name Marian Page.
Mayerl died in 1959 from a heart attack at his home, Marigold Lodge, after a long illness.
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Famous quotes containing the word fame:
“I have made a very rude translation of the Seven against Thebes, and Pindar too I have looked at, and wish he was better worth translating. I believe even the best things are not equal to their fame. Perhaps it would be better to translate fame itself,—or is not that what the poets themselves do? However, I have not done with Pindar yet.”
—Henry David Thoreau (1817–1862)
“The genuine remains of Ossian, or those ancient poems which bear his name, though of less fame and extent, are, in many respects, of the same stamp with the Iliad itself. He asserts the dignity of the bard no less than Homer, and in his era, we hear of no other priest than he.”
—Henry David Thoreau (1817–1862)
“It is remarkable that the dead lie everywhere under stones.... Why should the monument be so much more enduring than the fame which it is designed to perpetuate,—a stone to a bone? “Here lies,”M”Here lies”;Mwhy do they not sometimes write, There rises? Is it a monument to the body only that is intended?”
—Henry David Thoreau (1817–1862)