Heliotrope Bouquet

Today’s music is “Heliotrope Bouquet,” a 1907 rag composed by Scott Joplin and Louis Chauvin. Chauvin was a ragtime composer of great promise who alas fell victim to a turbulent and dissipated lifestyle in 1908 at the age of 27. Bill Edwards describes the composition and structure of the music here:

This rag contains the only known surviving compositional fragment of Louis Chauvin, who by most contemporary accounts was a very creative, skilled and prolific pianist who knew a multitude of pieces, though he was unschooled and could neither read nor write music. Chauvin lived a hard life as an itinerant pianist and died of complications from syphilis and multiple sclerosis shortly after his 24th [sic] birthday. The first two sections of “Heliotrope” are Chauvin’s, which Joplin first heard while visiting Arthur Marshall in Chicago in 1906, and thought enough of them to put them down to paper. The harmonization and last two themes were later completed by Joplin, with some tie-ins to the first two. The A section, utilizing a tango rhythm, is fairly unique in all of ragtime for its structure, rhythm and melody. The B section also contains some unexpected syncopation. The C and D sections are obviously born of Joplin’s writing in their nature, but the C section does contain a snippet of Chauvin’s melody in the middle.

The performer is Joshua Rifkin. Mr. Edwards provides a fuller biography of Louis Chauvin here.

This Sunday night: A musical soirée at NYU

Let’s not forget, folks, to bundle up this Sunday night and make your way to NYU for Marilyn Nonken‘s American Spectral: Works for Piano and Electronics concert, described below.


Lately my lovely wife has been coming home merrily singing the praises of two new piano solos she’ll be performing at NYU’s Black Box Theater, 82 Washington Square East in New York on Sunday, February 23 — they’re difficult but divine, she insists, and promises a good time. She’s never wrong.

The big piece on the program (which is called American Spectral: Works for Piano and Electronics, by the way) is the hour-long “Music for Piano with Slow Sweep Pure Wave Oscillators,” a new “extended mix” of a shorter 2010 work by highly-regarded avant-garde tunesmith Alvin Lucier. Marilyn will raise the curtain with Philadelphian Ellen Fishman‘s “Ruptures” (2018-19). These works, Marilyn says, “explore how technology changes our sense of time, consciousness, and sonic reality.”

Admission? Gratis. The trouble begins at eight o’clock. I’m told that there’s a new-fangled thing called social media that’s taking the place of the hardworking press agent, so if you visit the Facebook page for the event, please “like” it (whatever that is) and “share” it with your “friends.” Me, I’ve got to get my tuxedo to the dry cleaners; the composers will be present, after all.

I confess to you that I use the word “solo” advisedly here; she will be accompanied by some electric gewgaws. But they aren’t human, and I’m going to maintain my distinction between man (or, in this case, woman) and machine, so matter how complicated the box of wires is. After the show, we’ll all head out to the local tavern (except the computers, of course), where we’ll explore how wine and vodka change our sense of time, consciousness, and sonic reality, though I doubt the sensations will be quite as profound.

Tom Turpin’s “Harlem Rag”

An ad featuring Tom Turpin’s business in the St. Louis Palladium, an African American newspaper, March 4, 1905. The State Historical Society of Missouri, Photograph Collection.

Ah, ragtime. This, arguably America’s first homegrown musical genre, “originated on the folk level,” said Rudi Blesh and Harriet Janis, two of the earliest enthusiasts of the form, but “several outstandingly gifted composers of both races carried the music to a creative level that can only be termed classical.” Just so, and its alternating joy and poignance eventually emerged also in the finger-picking guitar style of the Piedmont Blues. “Piano ragtime was developed by the Negro from folk melodies and from the syncopations of the plantation banjos,” Blesh and Janis explain. “As it grew, it carried its basic principle of displaced accents played against a regular meter to a very high degree of elaboration.”

Of course, Scott Joplin is considered the king of ragtime, but his reputation has obscured that of many other royal ragtime composers. The first of these must be Tom Turpin (1871-1922), whose “Harlem Rag” was published in 1897, predating Joplin’s “Maple Leaf Rag” by two years. (It may have been composed as many as five years earlier.) Turpin’s bar in St. Louis, the Rosebud, was a popular meeting place for Joplin and other ragtime composers as well; in 1905 Joplin would dedicate his “Rosebud March” to Turpin. Turpin would go on to write other rags as the “Father of St. Louis Ragtime.”

Below, Ann Charters performs “Harlem Rag,” from the 1961 Smithsonian Folkways album Essay in Ragtime: Ragtime Piano Classics.

A musical soirée

Lately my lovely wife has been coming home merrily singing the praises of two new piano solos she’ll be performing at NYU’s Black Box Theater, 82 Washington Square East in New York on Sunday, February 23 — they’re difficult but divine, she insists, and promises a good time. She’s never wrong.

The big piece on the program (which is called American Spectral: Works for Piano and Electronics, by the way) is the hour-long “Music for Piano with Slow Sweep Pure Wave Oscillators,” a new “extended mix” of a shorter 2010 work by highly-regarded avant-garde tunesmith Alvin Lucier. Marilyn will raise the curtain with Philadelphian Ellen Fishman‘s “Ruptures” (2018-19). These works, Marilyn says, “explore how technology changes our sense of time, consciousness, and sonic reality.”

Admission? Gratis. The trouble begins at eight o’clock. I’m told that there’s a new-fangled thing called social media that’s taking the place of the hardworking press agent, so if you visit the Facebook page for the event, please “like” it (whatever that is) and “share” it with your “friends.” Me, I’ve got to get my tuxedo to the dry cleaners; the composers will be present, after all.

I confess to you that I use the word “solo” advisedly here; she will be accompanied by some electric gewgaws. But they aren’t human, and I’m going to maintain my distinction between man (or, in this case, woman) and machine, so matter how complicated the box of wires is. After the show, we’ll all head out to the local tavern (except the computers, of course), where we’ll explore how wine and vodka change our sense of time, consciousness, and sonic reality, though I doubt the sensations will be quite as profound.

He’s funny that way

Sometimes you just need a good song to start the morning. Below, Eden & John’s East River String Band offer up “He’s Funny That Way,” the 1929 standard by Neil Moret and Richard Whiting, from their most recent album Coney Island Baby. (Sure, the original title was “She’s Funny That Way,” but what’s a pronoun or two between friends?) That’s Eden Brower on vocals, John Heneghan on guitar, and special guest R. Crumb on ukelele. More about the band here, and you can purchase the album itself, as well as so many other ERSB albums, at their Ebay page here. I recommend you do so today.