Ragtime Music
Related Subjects: mpson, Butch Joplin, Scott Klein, Janet Paragon Ragtime Orchestra Carmichael, Judy Blake, Eubie Mont Alto Ragtime and Tango Orchestra Milne, Bob Morath, Max Europe, James Reese
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Disc 1
- Molto allegro
- Andante con moto
- Poco adagio cantabile
- Allegro
- Andante
- Serenade
- Rondo Alla Turca
- Intermezzo
- Csárdás
- Hungarian Dance No. 5
- Rákoczy March
- March
- Instrumental highlights
- Instrumental highlights
- Trumpet Tune and Air
- Sinfonia (Arrival of the Queen of Sheba)
- Overture
- Overture
- Overture
- Overture
- Festive Dance and Waltz of the Hours
- Dance Of The Sylphs
- Largo
- Bess, You Is My Woman Now
- Allegro con spirito - Adagio
- Castilla No. 7
- Polonaise
- Sabre Dance
- Dance of the Tumblers
- Flight of the Bumble Bee
- Dance of the Persian Slaves
- Cortège
- Allegro
- Storm Music
- Overture
- Intermezzo
- Dance of the Hours
- Intermezzo sinfonico
- The Soldiers' dance
- Overture
- No. 1
- Adagio
- Overture
- [Unspecified] Minuet
- Von fremden Ländern und Menschen
- Air
- Overture
- Prelude

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Disc 1
- Molto allegro
- Andante con moto
- Poco adagio cantabile
- Allegro
- Andante
- Serenade
- Rondo Alla Turca
- Intermezzo
- Csárdás
- Hungarian Dance No. 5
- Rákoczy March
- March
- Instrumental highlights
- Instrumental highlights
- Trumpet Tune and Air
- Sinfonia (Arrival of the Queen of Sheba)
- Overture
- Overture
- Overture
- Overture
- Festive Dance and Waltz of the Hours
- Dance Of The Sylphs
- Largo
- Bess, You Is My Woman Now

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Disc 1
- Largo
- Bess, You Is My Woman Now
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Disc 1
- Prologue
- Somewhere
- Scherzo
- Mambo
- Cha-Cha
- Meeting Scene
- Fugue
- Rumble
- Finale
- 1st Part
- 2nd Part
- 3rd Part
- We're goin' around
- Aunt Dinah has blowed the horn

Just As Its Title Says: CLASSICS IN AMERICAReview Date: 2004-08-18
Eclectic collection, Russo's Three Pieces first time on CDReview Date: 2001-09-23
Used price: $13.76
Disc 1
- Oriental
- Danse du Meunier

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Disc 1
- [Excerpt]
- No. 1, From the Land of the Sky-Blue Water
- The Hurdy Gurdy
- Presto
- Protestation Quartet
- Allegro
- Old Folks Gatherin'
- Excerpt
- Production Number
- Tonight
- Drums and Woods [Excerpt]

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Disc 1
- Shelter in a Storm
- Lull Water Rag
- Ragtime Frolics
- Annie's Dream
- Pandora's Rag
- Love in the Afternoon (A Ragtone Poem)
- Polyphonic Pleasures (A Ragtime Waltz)
- Vale of Cashmere Rag
- Majestic Rag
- [CD-Rom Track]

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Disc 1
- A Deserted Farm
- From Uncle Remus
- At an Old Trysting Place
- By a Meadow Brook
- Told at Sunset
- The White Peacock
- The Fountain of the Acqua Paola
- As Fast as Possible
- Andante moderato
- No. 1, in B flat major
- No. 2, in C sharp minor
- No. 3, in E flat minor
- Parallel Chords (Tango)
- Ragrtime Bass
- Fugue
- Fugue
- 6 movements
- The Alcotts~

A fine survey, to whet one's appetite for more, in an often outstanding reading marred by inferior piano qualityReview Date: 2007-10-16
In this survey of piano music in America between 1900 and 1945, some of the expected warhorses are there - Gershwin's Three Preludes and Copland's Piano Variations - but mostly we get rarely if ever recorded pieces, roughly arranged in chronological order. The very principle of this collection does entail some frustration, both for its unavoidable omissions (where are Ornstein, Nancarrow, Ruth Crawford?) and because it gives us only snippets from all these composers (some of them so rarely heard that it only serves to whet and frustrate one's appetite), and sometimes only excerpts, either from complete Sonatas (Ives, Barber) or from cycles (MacDowell's Woodland Sketches, Thomson's and Riegger's etudes, Griffes' Four Roman Sketches). But then it is invaluable for all the rarities it offers, so let us happily welcome what we get.
MacDowell's five excerpts from Woodland Sketches are rather uninteresting short tone poems in the style of Grieg, but Loeffler's language is more adventurous, conjuring the mysteriously sensuous harmonies of Scriabin and Debussy, with flights into Rachmaninoff.
Virgil Thomson, Roy Harris, Walter Piston, Roger Sessions, William Schuman are all much better known for their big symphonic scores or, in the case of Thomson, his operas and film scores (as well as his music criticism), making the inclusion of some of their piano music all the more welcome. Thomson's Third Piano Sonata from 1930 was written for Gertrude Stein whose interest for modern music was greater than her piano playing abilities, and offers the peculiarity of being written only for the white notes. It is mostly in the form of a simple, two-part invention and, despite the liner notes' claim, often sounds like "music for children" - say, the first steps of "Mikrokosmos". Maybe Thomson's "early and notoriously dissonant Sonata da Chiesa" (according to the notes) would have been a more interesting choice. The two etudes are excerpted from Thomson's 1943 Ten Etudes, each of which deals with some particular technical difficulties. The two chosen by Shields sound like (slightly out-of-tune) tango and ragtime all-right, and their small musical substance makes me think they must offer more fodder for playing than just for listening.
Like Thomson, Copland, Piston and Harris were pupils of Nadia Boulanger in Paris, but Barber, Schuman and Sessions were not. Still, their compositions share some common traits: they are usually stern, neo-classic in general outlook in that they are based on melodic and harmonic processes (often derived from Bach and the classical forms: 2-voice invention, chorale-like chord progressions, Passacaglia, Fugue) rather than the search of novel sound effects based on percussive attacks or clusters (as Cowell, Antheil and often Ives), and each movement often develops a certain specific compositional idea (sometimes overreaching their basic material to the point of satiation, as in the slow movement of Harris' Sonata or the introductory one from Sessions "From my Diary"). They never relinquish their ties to tonality, but their firm establishment is the modern times derives from their use of dissonance and bi- or polytonality. Even when they are not called as such, both Schuman's "Three Score Set" and Session's "From My Diary" mimic a Sonata construction (with slow introduction in the case of Sessions). Of all, it is Copland that establishes the most personal and immediately recognizable voice (to the point that the middle, choral part of Schuman's piece and some like passages of Harris strongly evoke the Brooklyn-born composer).
Other than Copland's Variations, my favorite pieces are those from the early modernists, Antheil, Cowell and Ives. Among the set's rarities, Wallingford Riegger's choice of 6 out of his 12 studies "New and Old" (1944) also offers an exceptional discovery. Riegger began his artistic course as a traditional Romantic composer but gradually evolved a much more personal language based upon dissonant chromatic counterpoint and eventually twelve-tone procedures, sounding very different from what Schoenberg and his school derived from the process (see Riegger: Symphony No3, Romanza, Dance Rhythms, Music for Orchestra, Concerto for Piano and Woodwind Quintet, Music for Brass Choir, Movement for Two Trumpets Trombone and Piano, Nonet for Brass and Wallingford Riegger: Variations / Sym No.4 for a good presentation of his orchestral work). As implied by their titles (further developed in the composer's explanations that introduce them in the score), the etudes illustrate certain compositional processes, but they are much more than mere didactic and cold exercises, offering instead dazzling virtuosity and mesmerizing sonic imagination, making it all the more frustrating that Shields didn't record the complete set.
The survey is completed by a fine program of 13 ragtimes - indeed one of the most vernacular inventions of American music - lasting 40 minutes in all, some of them highly elaborate and virtuosic, as Robert Hampton's "Cataract Rag", Lucky Roberts' "Pork and Beans" and Eubie Blake's "Troublesome Ivories".
Where I have scores and/or comparative versions to allow for an informed opinion, Shields is mostly excellent to outstanding, to make one wonder why he didn't have more of a career (this is his only recording I am aware of). He's got the required virtuosity, snap, muscularity and sometimes frenzy (Ives' two Studies, Antheil's Sonata, Cowell's "Invention" and "Advertisement"), and a fine sense of color and atmosphere (Griffes, Cowell's "Exultation"). Only in Cowell's "Aeolian harp" do I find him, compared to the composer's own recording (Henry Cowell plays his own Piano Music), square in tempo ("Tempo Rubato" is the tempo indication) and greyer in his colors and dynamics.
But part of his program Shield plays on an inferior piano which can't sustain a chord, and the sound of the pedal mechanism can be heard in some like a short maracas rattle. In some of the pieces Shield's humming can be heard, not outlandishly out-of-tune like Glenn Gould's, but strangely raspy, as if produced with the help of a kazoo.
Composer Lejaren Hiller and Shields himself for the ragtimes contribute remarkably interesting, informed and informative liner notes.

Used price: $6.84
Disc 1
- Dizzy Fingers
- Red Lantern
- By the Waters of Minnetonka
- Novelette
- Waltz Mirage
- Greenwich Witch
- Afghanistan
- Kinda Careless
- Kitten on the Keys
- Sheik of Araby
- Heaven's Garden
- Stumbling
- Jaywalk
- Tap Dance of the Chimes
- Humorestless
- That Thing Called Love
- Midsummer's Nightmare
- Tricks
- Coaxing the Piano
- Concert Etude
- My Pet
- Relaxation
- Fantasy of Today [Classical and Jazz Version]

RefreshingReview Date: 2008-05-15
remarkable evocation of a bygone styleReview Date: 2003-07-25
The Rolls Royce of Zez Confrey recordings.Review Date: 2003-04-09
For those new to Confrey, here's a brief description:
Edward Elzear Confrey (known to all as Zez) was a self-described composer of novelty piano music, his way of trying to describe music that was at once influenced by ragtime, early jazz, popular songs, and classical composers, particularly Debussy and MacDowell. His music rarely if ever aspires to emotional profundity, but its sheer joy, bounce, and tunefulness make it hard to put down once you've started, whether as listener or pianist. As an amateur pianist, I've been playing Zez Confrey's music for 20 years. The reactions I have gotten from people over the years have been consistently the same; "Wow! Who wrote that?", and "Are there recordings of this music I can buy?". Now, this disc gives me an easy answer to the second question.
This disc is Artis Wodehouse's fourth disc devoted to her amazing humanized piano rolls. The first two covered a good cross-section of George Gershwin's piano rolls, while a third was a collection of piano rolls by Jelly Roll Morton. This is easily her finest work since the first "Gershwin plays Gershwin" disc in 1993.
Zez Confrey, like his contemporaries George Gershwin and Jelly Roll Morton, left behind a well-rounded collection of acoustic gramophone recordings as well as paper piano rolls. The least sophisticated of these paper rolls merely captured the notes that the pianist played and nothing more. Once the roll was published and sold, it was the job of the consumer, operating his or her own reproducing piano, to mechanically add pedaling, rubato, and dynamics as he or she saw fit. However, the most sophisticated reproducing rolls captured not only the notes but the pedaling, rubato, and dynamics used by the pianist, often with uncanny accuracy. All paper rolls allowed the pianist the option of post-production editing, e.g., removing wrong notes, and in popular music such as this, adding dazzling "third hand" counterpoint effects that made the end result unplayable by a human pianist. Confrey was one the best at this, and he uses this technique liberally throughout the rolls on this disc. (For those of you familiar with Confrey's "Kitten on the Keys" or "Dizzy Fingers" in their standard published versions, you're in for a treat once you hear Confrey's souped up three-handed versions presented here.) Still, even the best of these paper rolls played back on the best reproducing pianos could never be mistaken by an astute listener for a human being (two-handed or otherwise). There was always a discernible gap between playing produced in the human realm and that of the mechanical realm, that is until relatively recently. The explosion of digital technology has allowed such things as computerized reproducing pianos like the Yamaha Disklavier to become a readily available reality. Recordings made and played back on such pianos are virtually indistinguishable from live human performances. It wasn't long before people like Artis Wodehouse starting exploring ways to apply this technology to the old paper rolls, finally enabling listeners to experience what it might have been like to hear pianists like Gershwin, Morton, and Confrey recorded in the flesh, and in modern sound. By taking the information encoded on these old paper rolls and feeding it into a Yamaha Disklavier system, she has been able narrow the gap between human playing and mechanical playing to the point of near nonexistence. Through careful study of Confrey's actual playing from acoustic recordings, Wodehouse has softened the mechanical edges, painstakingly adding those qualities that distinguished Confrey's playing in the flesh, effectively making each roll indistinguishable from an actual human performance.
On the first Gershwin disc from 1993, several of the rolls she chose had been previously recorded in their original paper roll form. Having heard these original paper roll recordings, listening to Artis Wodehouse's humanized versions of these same rolls was like seeing an old film before and then after restoration. In short, it was a revelation.
This new Zez Confrey disc easily lives up to these high standards Wodehouse set for herself, indeed this disc may even set the bar higher. This time around, not only is Wodehouse working from two different types of paper rolls, she is actually playing some of the pieces herself, works that Confrey did not record, but that deserve a place on any disc of Confrey's music. The joyful bounce and rhythmic snap of her playing so perfectly matches Confrey's own playing that it becomes impossible to tell which tracks are hers and which are Confrey's. The result is an amazingly seamless and unified blend of musicianship, scholarship, technological know-how, with an astute understanding of the individual elements that made Confrey's playing unique. Whether as pianist or digital editor, with this CD, Wodehouse has done more for Confrey's music than has anyone before her. The results are well worth hearing.
Wodehouse the magnificentReview Date: 2003-04-24
Disc 1
- Alabama Red
- Smithy Rag
- I cant give it Away
- War song
- Roosevelt & Hitler - I
- Roosevelt & Hitler - II
- Southern Rag
- A Prayer
- Don t sit down
- Roosevelt and Hitler - III
Related Subjects: mpson, Butch Joplin, Scott Klein, Janet Paragon Ragtime Orchestra Carmichael, Judy Blake, Eubie Mont Alto Ragtime and Tango Orchestra Milne, Bob Morath, Max Europe, James Reese
More Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160
This is pure, undiluted AMERICAN music, people. PLEASE do yourself a favor and put down the metal, the "alt," the rapping, the country 'n western, and even my beloved Rock and Roll for
about 2 and a half hours of some of the most incredible - and not THE LEAST BIT BORING! - Classical Music. Music that AMERICA was responsible for!