If you believe that any review contained on our site infringes upon your copyright, please email us. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto.If you have any suggestions or comments on the guidelines, please email us. We cannot post your review if it violates these guidelines.Avoid disclosing contact information (email addresses, phone numbers, etc.), or including URLs, time-sensitive material or alternative ordering information.and arguably academic style that typifies some of Bolcoms pre-ragtime pieces. Please do not use inappropriate language, including profanity, vulgarity, or obscenity. William Bolcoms two-piano oeuvre fully reveals his uncanny facility for. Be respectful of artists, readers, and your fellow reviewers.Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn't.Are you a beginner who started playing last month? Do you usually like this style of music? Consider writing about your experience and musical tastes.Do you like the artist? Is the transcription accurate? Is it a good teaching tool? Explain exactly why you liked or disliked the product.Their musical language subtly updates that of Joplin without in the least sacrificing its character. Bolcom's Ghost rags are charming and thorougly idiomatic, not exercises at all but tributes, of the highest order, to a neglected American music. Slower and sweeter than the other two, it still comes with surprising harmonies, tricky syncopations, and langorous melodies that might provide numerous opportunities for some smoky-eyed heroine to toss her hair. One writer has described it as a "white telephone rag," and of the three rags in the set this one is the most redolent of the old-time serials. The music takes several entertaining jaunts down long hallways to dead ends before reluctantly coming to a conclusion. The second Ghost Rag, titled Poltergeist (Rag Fantasy), does not make an outward show of being haunting but nevertheless sounds more ghostly, with suspended appoggiaturas, unexpected harmonies, and syncopations that snap a bit more than those of Graceful Ghost. Bolcom has also prepared a very effective transcription for violin and piano of this rag. In order to gain a more artistically dramatic effect, Bolcom has greatly expanded the traditional ragtime form in this piece, making it far more reminiscent of the dramatically transformative piano music of late Romantics like Liszt than the rags of early 20th century American composers like Scott Joplin. An elegant melodic curve, gentle minor-mode harmonies, and an expert use of the flowing syncopations of ragtime rhythm make the piece feel wistful and noble at the same time. The ghost who stalks these pages is indeed a graceful and welcome presence. 0:00 / 32:40 William Bolcom Plays Ragtime - Heliotrope Bouquet 1971 Redacted 679 subscribers Subscribe 8. Bolcom wrote the first of these rags, Graceful Ghost, in memory of his father, and it has become his single most famous work. His Ghost Rags of 1970, which were named as a set by the pianist Paul Jacobs, have become the best-loved of his ragtime explorations, and Bolcom invests these essays in old-time music with style and wit. The exploration of this master's oeuvre spurred several American composers to write rags of their own, including William Bolcom. Serie / Series: Brass Band EntertainmentI came to know of this piece when hearing famous Norwegian ragtime pianist Morten Gunnar Larsen playing it at a co. 1979: Third Symphony (for Chamber Orchestra) 1956-82: Songs of Innocence and of Experience (William Blake) 1978-83: 'Cabaret Songs' (Vol. 1971: Commedia (for 'Almost' 18th Century Orchestra) 1974: The Garden of Eden. In the late '60s, there arose a renewed interest in the music of the greatest ragtime composer, Scott Joplin. 1967: Black Host (Nonesuch H-71260) 1970: Graceful Ghost Rag.
0 Comments
Leave a Reply. |