Scott Joplin (c.1868-1917)
King of Ragtime
Cecile Licad (piano)
rec. 2026, Calliope West, San Rafael, USA
Danacord DACOCD1010 [2 CDs: 94]

James Scott, Joseph Lamb and Scott Joplin were collectively known as the three Bs of classic ragtime – a mischievous echo of the classical trio Bach–Beethoven–Brahms. But it was Joplin who elevated the genre to a genuine art-form. For him, this was never mere ‘saloon music’ but a genuine classical form: American Classical Music. Filipina pianist Cecile Licad does not claim to have recorded the complete edition. Joplin is said to have written more than fifty rags, so this survey explores nearly half of the surviving pieces. It includes favourites and some lesser-known pieces. It is quite a challenge to listen to this recital at a sitting. Many rags follow a rigid structural pattern, and may all begin to sound alike. Yet it is this rigidity that makes the performers’ interpretation so important.

I guess that one of the hazards for pianists is playing the rags at too fast a tempo, as high-speed novelties. Joplin once wrote: “It is never right to play Ragtime fast.” Licad approaches the tempo correctly – the playing is always neat and cool, rather than frenetic. Her approach to repeats is to bring variation in colour, voicing and dynamics. The basic left-hand pattern of a rag is “oom-pah”; usually the syncopated right hand needs to be crisp and sometimes a little wayward. Licad captures this balance effectively, ensuring the rhythm remains the focus without becoming mechanical.

It is not necessary to comment on each rag here. Many listeners will skip to one of the three big hits. It is fair to suggest that the Maple Leaf Rag (1899) is the epitome of ragtime style. There is nothing easy here. The performance should be balanced and rhythmical but not too showy. The steady, insistent stride bass in the left hand is no cinch.

The Entertainer (1902) shot to fame in the 1973 film The Sting, starring Paul Newman and Robert Redford. Like countless others, I bought the score and found I could make a reasonable fist of it. In the intervening years, this rag has become a bit hackneyed. It is to Cecile Licad’s credit that she can bring a charming freshness to this world-famous number.

For those who think that all rags are indistinguishable, the Solace (A Mexican Serenade) is a refreshing change. Joplin, influenced by the tango here, has created a moody, melancholic little composition.

As a little encore, Licad has concluded her recital with Bill Evans’s quiet and contemplative Peace Piece. It provides a poignant, ‘modern’ contrast to the syncopated vitality of the preceding rags.

This is not a chronological account. No dates are given for the pieces, but Licad bases her presentation on variety of moods and styles. She has performed this recital on a Steinway concert grand rather than using a “honky-tonk” or parlour piano, so there is warmth and subtlety here. Yet the original brightness and vivacity have not been sacrificed. The liner notes give a fair introduction to the repertoire, although more detail about each piece might have helped. There are brief notes about the genre’s historical context.

I have never counted myself among the keenest admirers of Scott Joplin’s music, yet this collection has a persuasive charm for me. Even if it is not a definitive collection of his rags, it is a wonderful entry-level exploration of a once popular musical era.

John France

Other review: Philip Borg-Wheeler

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Contents
Original Rags
The Entertainer
Pineapple Rag
Breeze from Alabama
Solace (A Mexican Serenade)
Peacherine Rag
The Paragon Rag
Ragtime Dance
Heliotrope Bouquet
Reflection Rag
Elite Syncopations
The Easy Winners
Leola
Magnetic Rag
Gladiolus Rag
Fig Leaf Rag
Stoptime Rag
Wall Street Rag
Rose Leaf Rag
Search-Light Rag
Maple Leaf Rag
Bill Evans (1929-1980)
Peace Piece