That’s the case made by Andrew Ford in his assessment of the slow disappearance of Tasmanian-born Eileen Joyce.
A heartthrob in the Second World War, Joyce’s diary got thinner after she played the soundtrack in the movie Brief Encounter. The highbrows of the music business wrote her off, or so Ford contends.
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There is, however, an alternative narrative. Joyce, with a safe repertoire, faced tougher competition after the war, both from more adventurous pianists and from the new wave of modernists, whom she never touched.