The Chrysanthemum - Scott Joplin (1904)

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The Chrysanthemum, and Afro-American Intermezzo, by Scott Joplin

This is my 5th Joplin recording, and one of my favorites. I consider this to be one of Joplin's "B-Sides" - not one of his better known works, but to me, it's such a beautiful composition. It's not a rag at all, but has a very classical sound to it. I hope you enjoy it. :-)

PS-forgive some of the flubs. This took me forever to record, as my opportunities to record in piece and quiet are very limited.

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Additional Information (Source: http://ragpiano.com/pbmidi15.shtml):

1904: This lovely composition appeared in the middle of a very productive yet tragic year for Joplin. As discovered through diligent research by Edward Berlin, the inscription on the original cover to "Miss Freddie Alexander, Little Rock, Arkansas" referred to a young lady of 19 that Joplin would marry during the summer. He then toured between Little Rock and Sedalia, where he had once again temporarily settled, but once he arrived there, Freddie was confined to her bed due to a severe cold that would escalate into pneumonia. Just over twelve weeks after they were married, Freddie died in Sedalia. This would mark the start of a period of compositional malaise for Joplin, who had potentially been inspired to write The Chrysanthemum by Freddie. Advertising for the piece claimed that the piece was inspired by a dream that Joplin had after having read Alice in Wonderland of all things. Given Freddie's age, she may have been the reason for his reading the somewhat psychedelic tome. In any case, it was this piece that helped lead Doctor Berlin to the existence of Freddie and her marriage to Joplin.

While The Chrysanthemum is syncopated, it is technically not a piano rag, although many artists and scholars have differing opinions on this point. It indeed contains four sections, a common trait of classic ragtime, the fourth of which is a full-length repeated interlude. It also follows the harmonic and modulation structure of many well-known rags. However, there are no syncopated patterns that extend over a bar line, and the only recurring syncopated (ms. 2,4, etc of section A and ms. 3-4, etc. of section B) is at the middle of a pattern and within one bar line. Even Joplin concurs, having presented it as An Afro-American Intermezzo (the American was deleted from the cover of later editions along with the dedication), an intermezzo being defined as a short or light instrumental composition for piano. That said, it is a gently raggy intermezzo! The melody line in the opening strain implies many possible harmonic directions, some of which are explored in the repeats with counter-lines. The B section provides relief from the moving line along with stark dynamic contrast. The trio is in line with other Joplin trios of that period, stated largely in thirds and marked dolce, or "sweetly". The D repeated section serves as an interlude before a final repeat of C, and successfully draws on the relative minor to great effect. A lovely piece indeed. Now if I could only pronounce it when I play it in concert!