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Scott Joplin – The King of Ragtime: Complete Piano Works
Phillip Dyson
Classical - Released June 3, 2022 | Decca Music Group Ltd.
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Dubbed the "King of Ragtime", Scott Joplin (ca. 1868-1917) was one of the most important and influential composers at the turn of the 20th century. At age seven, he discovered a piano in a neighbour's house and began experimenting with it by ear. In 1897, Joplin had his breakthrough, when he completed his Maple Leaf Rag. Phillip Dyson, recognised as one of Britain's most sought after and innovative concert pianists and broadcasts regularly, has recorded the Joplin's complete piano works for Decca, reaffirming Joplin's reputation as a serious and influential American composer. Joplin's music has prevailed. Ragtime scholars and speciality pianists have kept his memory alive for decades. His rags, marches and waltzes are securely ensconced in the piano repertoire. © Decca Records
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Ragtime (Version Deluxe) (Édition 5.1)
Bruno Fontaine
Classical - Released November 18, 2013 | Aparté
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REFLECTIONS: Scott Joplin Reconsidered
Lara Downes
Classical - Released February 4, 2022 | Rising Sun Records
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Pianist Lara Downes has often played programs that merge popular and classical materials, seeking to explore the complexities of the American musical experience. It was perhaps inevitable that she would eventually turn to the music of Scott Joplin, whose music was shaped by many streams of that national experience, from classical music to the deepest wells of African American tradition. There are plenty of Joplin recordings, of course, but they're not as common as they were a few decades ago, and Downes' approach is fresh in many ways. Her program emphasizes the range of Joplin's work. There are not only piano rags but waltzes, a tango, a song with a text by Joplin himself (heard in a lovely rendering by Will Liverman, this is a world premiere, and the songs are almost never heard), miscellaneous other piano works, including one designated as a cake walk, and, as a frame, two excerpts from Joplin's sole surviving opera, Treemonisha, one of them a prelude arranged for piano by Downes herself. Some pieces are played solo, while others are arranged for a group, and Downes' stamp is all over the arrangements even where they are not her own. They mostly have the small ensemble of winds and plucked strings that was typical of arrangements published in Joplin's own time, but they avoid the rigid mechanical feel of recording that presents Joplin as some kind of nostalgia item in favor of a quieter tone that emphasizes Joplin's roots in classical music. Downes' own playing elaborates Joplin's musical texts with ornamentation (which Joplin himself applied, according to the evidence provided by piano rolls) and occasionally by altering the rhythms (which he generally did not, and which may disturb the delicate balance between different kinds of syncopation built into his structures). The album concludes with a spoken commentary of the kind one wishes more classical artists would offer, reflecting on Joplin's importance, on his reception history, and on how Downes herself came to his music, like so many others, through the rag The Entertainer. As usual, Downes has given listeners much to enjoy and much to consider.
© James Manheim /TiVo
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Scott Joplin: Pièces pour clavecin (Arr. for Harpsichord)
Elisabeth Chojnacka
Classical - Released January 1, 1994 | naïve classique
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Music from the Era of the Chicago World’s Fair
The Continental String Ensemble
Chamber Music - Released June 16, 2023 | Centaur Records, Inc.
Rags pour piano (Volume 1)
Alexander Peskanov
Classical - Released July 28, 2004 | Naxos
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Anyone looking for a good, solid one-disc package of Scott Joplin's piano rags will encounter a bewildering number of choices, ranging from volumes within complete sets to recordings by chamber ensembles or even his rags as arranged for orchestra. One would think that the new Naxos American Classics disc, its first of Joplin, would automatically be a strong contender in the category of direct, unfettered approaches to the work of Joplin as classical piano music. Unfortunately, Scott Joplin: Piano Rags doesn't deliver the goods, and the problem may lie in the choice of pianist, in this instance the otherwise indomitable Alexander Peskanov, noted elsewhere for his mastery of Brahms, Liszt, and his own (very interesting) piano music. Peskanov approaches the music with care, taking all indicated repeats, adding rubato to stretch out transitions against Joplin's inflexible march beat, and making circumspect use of dynamics so that certain phrases die away and others jump forward. But Peskanov doesn't add much in the way of spark or excitement, nor do any of these recordings have the gentle sense of swing that is idiomatic to ragtime. Peskanov's interpretation of Bethena is too fussy, lingering over details to the extent that it obscures the form of the piece. Performances of Bethena normally clock in at about five and a half minutes; Peskanov takes nearly eight. There is an attempt to vary repeats in certain parts, but mostly these gestures come off like sloppy improvisations and are distracting to those who know Joplin's music well. Naxos' Scott Joplin: Piano Rags is like a glass of soda water that has lost its fizz; it's a shame that it's not better, but there are certainly a wealth of other, better recordings of Joplin out there. © TiVo
Anyone looking for a good, solid one-disc package of Scott Joplin's piano rags will encounter a bewildering number of choices, ranging from volumes within complete sets to recordings by chamber ensembles or even his rags as arranged for orchestra. One would think that the new Naxos American Classics disc, its first of Joplin, would automatically be a strong contender in the category of direct, unfettered approaches to the work of Joplin as classical piano music. Unfortunately, Scott Joplin: Piano Rags doesn't deliver the goods, and the problem may lie in the choice of pianist, in this instance the otherwise indomitable Alexander Peskanov, noted elsewhere for his mastery of Brahms, Liszt, and his own (very interesting) piano music. Peskanov approaches the music with care, taking all indicated repeats, adding rubato to stretch out transitions against Joplin's inflexible march beat, and making circumspect use of dynamics so that certain phrases die away and others jump forward. But Peskanov doesn't add much in the way of spark or excitement, nor do any of these recordings have the gentle sense of swing that is idiomatic to ragtime. Peskanov's interpretation of Bethena is too fussy, lingering over details to the extent that it obscures the form of the piece. Performances of Bethena normally clock in at about five and a half minutes; Peskanov takes nearly eight. There is an attempt to vary repeats in certain parts, but mostly these gestures come off like sloppy improvisations and are distracting to those who know Joplin's music well. Naxos' Scott Joplin: Piano Rags is like a glass of soda water that has lost its fizz; it's a shame that it's not better, but there are certainly a wealth of other, better recordings of Joplin out there. © TiVo
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Scott Joplin: The Complete Rags, Waltzes & Marches
William Appling
Classical - Released March 29, 2017 | W.A.S.O.
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Scott Joplin Ragtime
Scott Joplin Ragtime
Ragtime - Released April 21, 2015 | The Playlist Spot
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Ghostheartpost
Firehouse Revival Swiss Dixieland Jazzband
Jazz - Released January 1, 1990 | Elite Special
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Scott Joplin's Original Rags Played by the Composer (1896-1917)
Scott Joplin
Jazz - Released January 15, 2014 | Kind of Blue Records
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Maple Leaf Rag and Popular Piano Rags: A Tribute to Scott Joplin
Adrian Connell
Ragtime - Released June 1, 2021 | Adrian Connell
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Maple Leaf Rag (Classic Ragtime Piano Yamaha Grand Rendition)
The Backdrop
Jazz - Released March 15, 2024 | Trace Watson Music
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Scott Joplin (Maple Leaf Rag for two violins)
Adela Urcan
World - Released March 17, 2024 | Distrokid
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Fig Leaf Rag
Petite Feet
Jazz - Released July 6, 2022 | 1346384 Records DK
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Maple Leaf Rag (Live)
Martin Spitznagel
Ragtime - Released January 16, 2020 | Martin Spitznagel
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