Scott Joplin: King of Ragtime

Whilst James Scott, Joseph Lamb and Scott Joplin were collectively known as the “three B’s” of classic ragtime, (a mischievous echo of the classical trio Bach–Beethoven–Brahms) it was Joplin that elevated the genre into a genuine art-form. For him, this was never mere ‘saloon music’ but a genuine classical form: American Classical Music. This new 2 CD set by Filipina pianist Cecile Licad does not claim to be the complete edition. As Joplin is claimed to have written more than fifty rags, this survey explores nearly half of the surviving pieces and includes favourites as well as some lesser-known examples. Listening to this recital at a sitting is quite a challenge as 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 great a tempo - as high-speed novelties. Joplin himself once wrote that "It is never right to play Ragtime fast." Here 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” and 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 overly 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, and it is to Cecile Licad’s credit that she is able to 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 has been influenced by the Tango here, and 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 of these rags. Unfortunately, no dates are given for each piece, but Licad’s presentation is based 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 might have been given about each piece. 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. Despite this not being a definitive collection of his rags, it provides a wonderful “entry level” exploration into a once popular musical era.

Track Listing:

Scott Joplin (c.1868-1917)
CD 1
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

CD 2
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 (1929-80)
Peace Piece
Cecile Licad (piano)
rec. 12-16 January 2026, Calliope West, San Rafael, California, USA
Danacord DACOCD 1010 [2CD]
With thanks to MusicWeb International where this review was first published.