00:01 - Var. 07. - Moderato assai
00:42 - Var. 08. - Allegro
01:22 - Var. 09. - Alla mazurka
02:29 - Var. 10. - Andante, non troppo, un poco rubato

Dedicated to his lifelong friend Hermann Laroche, this theme, 12 variations and 'coda' show the composer at his most assured. Although only one of the variations is labeled 'Alla Schumann' [VAR XI], the elder composer's shadow permeates this work.
The simple, expressive sixteen-bar theme is subjected to a wide variaty of treatments, endings with a two-page virtuoso 'coda'. This work enjoyed great popularity among pianists, becoming a frequently included item in the programmes of Hans von Bülow and Emil Gilels, among many other virtuosi.

Opus 19 Nr.6

*** End Part II ***

0:00 Thema - Andante non tanto [F major]
0:38 Var.1 - L'istesso tempo
1:13 Var.2 - L'istesso tempo
1:51 Var.3 - Allegretto
2:24 Var.4 - Allegro vivace leggiero
3:00 Var.5 - Andante amoroso [Db major]
4:04 Var 6 - Allegro risoluto [F major]

*** End Part One ***

Dedicated to his lifelong friend Hermann Laroche, this theme, 12 variations and 'coda' show the composer at his most assured. Although only one of the variations is labeled 'Alla Schumann' [VAR XI], the elder composer's shadow permeates this work.
The simple, expressive sixteen-bar theme is subjected to a wide variaty of treatments, endings with a two-page virtuoso 'coda'. This work enjoyed great popularity among pianists, becoming a frequently included item in the programmes of Hans von Bülow and Emil Gilels, among many other virtuosi.

Opus 19 Nr.6

In Germany : Spinnerlied
In France : La Fileuse
In England and U.S.A: The Bee's Wedding

0:01 Miserere - Il Trovatore - Giuseppe Verdi
1:04 Wedding March - Felix Mendelssohn
1:10 Wedding March Lohengrin - Richard Wagner
1:13 Soldiers Chorus Faust - Richard Wagner
1:18 Barcarolle - Hoffmann's Tales - J. Offenbach
1:42 Tannhäuser - Richard Wagner
1:48 March Aïda - Giuseppe Verdi
1:55 Samson et Delilah - Camille Saint Saëns
2:30 Duet Faust (4 bars)
2:36 Torreador Song - Carmen - Bizet
2:50 Quartet Rigoletto - Giuseppe Verdi

Composer of 'Marionette' [Oct 17]

Structure:INTRO A BB C A B

Most of the syncopation is effected by delayed entrance of the right hand:

2/4 : | Rest_16 - 8 ... | or: | Rest_8 - 8 ... |

extended to the bass in quick one measure comments or answers in the treble.

Structure: INTRO A B A C INTRO-2 DD A [1905] March and Two-Step

One of the most curious rags ever published.
While the form appears typical enough for a Folk rag, the use of keys is not.
The rag begins on a G minor chord [Dorian in F ?]
B-section moves abruptly to D flat after which A is repeated.
C-section is also in the key of F
D-section moves to B flat. Finally A returns to end the rag.

Structure: INTRO AA B C INTERLUDE C

A joyous, stomping debut. It is a typical Nashville rag in that it combines very ambitious syncopation:

4/4 : rest 8 | 4 | 8 | rest 8 | 4 | 8 | ... with simpler cakewalk figures : 4 | 2 | 4 |

Charles Hunter 1876 - 1906

Structure: INTRO A BB CC A B

Note the designation "two-step" instead of "rag".
This is actually a lightly syncopated cake-walk march, somewhat reminiscent of 'Tickled to Death'.
Sections A and C are 32- measure strains each.

Composer of:

Possum and Taters [Apr 28 - 2018]
Cotton Balls [Apr 28 - 2018]
Just ask me [Aug 10 - 2018]
Why we smile [Oct 2 -2018]
Tickled to death [u.c.]

Structure: INTRO A BB CC CODA

A masterpiece with which he won cutting contests and became the ragtime champion of Missouri.
The A-section feautures contrasting syncopation skilfully juxtaposed.
The B-section is delicate and lyrical.
The C-section builds tension with sustained arpeggios on a circle-of-fifths, climaxed by a syncopated bass break in octaves.
This break is not in the original score, but was always included by Thompson, at least in his later years.

Arrangement: Artie Matthews. [1914]

Structure: INTRO A BB A TRIO-INTRO C INTERLUDE C

A prolific song-writer and composer of show tunes, Schwartz had a flair for smooth harmonic changes, frequently with the bass moving downward adding interesting color in an orthodox tonal format.

Key: G Major

To his friend D. S. Tullar.

Will B. Morrison & Cecil Duanne Crabb

Sonata No.52 in E flat Major [Landon 62]

The Presto [third movement - Finale] is a monothematic, endlessly ressourceful sonata form.
It sparkles with humour and brilliance, wit and vitality.

La Poule / The Chicken

Key: G Minor

Louis-Claude D'aquin 1694 - 1772

Le Coucou / The Cuckoo

Key: E minor

Jean Philippe Rameau 1683 - 1764

Suite in E minor Nr.5 Le rappel des oiseaux / The recall of the birds

Prelude Opus 28 Nr. 16 in Bb Minor.

A son ami Camille Pleyel

Polymetric :

4/4 - Left: 2 [quarter note] triplets / Right: 4 [eight note] triplets in a bar, throughout the piece.

Structure: INTRO AA BB C BB A

Written ten years after 'Dizzy Fingers' [Oct 12 -2018], it is in that same tradition and a puzzler for the student going through several Novelty patterns.

Structure: INTRO AA BB INTRO A TRIO-INTRO CC

A charming inversion of 'Kitten on the Keys', it has its own distinctiveness.
Section-B cements its relationship to the more famous piece, but uses the groupings in a rhythmic accent rather than melodically.
Section-C is another flag-waver, but highlights the melody rather than the rhythm.

Structure: INTRO AA BB A TRIO-INTRO CC

Allegro

Yet another variation on 'Kitten on the Keys' [Oct 12]. Rhythmically more complex than 'Witch', it is also more melodic in its way.
B-section is unusual in that the melody is in the left hand.
Altogether a first rate rag filled with inventive figures.

Structure: INTRO VAMP AA INTRO-2 BB INTRO-1 VAMP A TRIO-INTRO C

Moderato (!)

Structurally akin to 'Kitten on the Keys', it is more like 'Ivories' in mood.
The mysterious mood is more pronounced as the introduction and A-section are both in the minor mode (E flat minor).
Section-B is probably the most rhythmically complex of anything found in Novelty rags (B flat minor).
An exotic and very typical Confrey sound here results from a series of ninth chords built on augmented triads, descending in intervals of a minor third.
Section-C harks back to Joplin's flag-waving endings but in the Novelty style (A flat major).
The ending is a rhythmic surprise.

Stucture: INTRO AA B INTRO A B TRIO-INTRO C INTRO-2 D

Allegro Moderato

This is Confrey's first essay in what was to become the Novelty ragtime idiom.
As we know, ragtime's ebullient feelings are obtained in the major tonality.
Consider then Confrey's innovation of starting the first section in a minor mode (b minor) but with feelings that are happy and bright.
A unique rag and the first in the Novelty ragtime style.

Keys: B minor - D minor - G major -

Structure: INTRO AA BB A CC

A brilliant Novelty Rag which imitates the 'Nickolodeon' - an automated player piano machine - which frequently breaks down.
The third section is the beauty with a marvelous break.