None.Section 2: "Piano Problems"Beverly Pressley, a pianist who had been in the music world for most of her life, gave up on playing the piano. She hadn't touched her beloved instrument for months and felt it was time to move on with her life. Linda Kaplan Thaler and Robin Koval had other ideas. A friend of Thaler and Koval's told them about Beverly's plight when they began talking about how many people were having trouble making ends meet in these tough economic times, among them musicians who work in the classical field. Thaler had worked on some marketing plans for the arts, and she decided to put together a business plan for Kaplan Thaler & Koval, which would become Kaplan Thaler Associates. She asked Koval what he thought about it."I just want to help people," he said. "I've always wanted to do something like this."Thaler had also been thinking about how it was sad that so many musicians were having trouble, not just Beverly Pressley but so many others. She saw the lack of income musicians face as an aspect of their loss of control over their careers. They had no say in who they performed for or how much they were paid, and it left them feeling vulnerable and exposed. She wanted to help musicians gain some control over their careers, to make them feel like they had more choices. "What if we create a platform for musicians who are known and recognized locally but aren't yet ready to make the jump into the classical music scene?" she suggested. "Their competition is fierce; they're up against people who've already proven themselves on the national stage, with experience and degrees from institutions like Juilliard and the New England Conservatory.""How do we give them an advantage?" Koval asked. "We could match them with people who want private performances but don't want to spend $10,000 or $20,000 for top talent," Thaler answered. "We create a Web site, a platform for musicians to showcase their talents in a safe environment where they can control the price and the number of performances. That way the audience gets a high-quality performance at a lower price, and the artist can make money without having to compromise."Thaler was on fire. Could it work? She didn't know, but she thought they should try it."We'll call it PrivatePerformance," she said. They talked through the challenges of putting together such an ambitious project, which included gathering artists who traveled locally (around New York) rather than nationally; getting exposure for the site; and building up exposure for each artist. "We can do it," Koval said. "We'll do it!" he repeated with more fervor, as if bringing the music alive in his head.They called Beverly, explained their plan, and convinced her to try it out. She agreed to give one concert a month for a year for a fee of $1,700 per concert. If she wanted to increase the number of concerts she would need to earn more money from each performance. The first thing they needed was a name for their business and a logo. After several attempts by an ad agency, they chose the name Pianotivity and decided on an image of someone playing the piano with his back turned to the audience.

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