This is a full 1 hour concert that was recorded at the Kennedy Center for the Performing Arts on the Millenium Stage. It provides a better overview of the overall concert performances I so enjoy giving than the short snippets that make their way to YouTube. This was in front of a very enthusiastic overflow audience of 500 or so, on a Steinway B piano in a pretty good-sized space. Debuted here is my rendition of the Hungarian Dance #5 by Johannes Brahms, in ragtime of course. I'm never quite satisfied with one or another performance, since even after a good rehearsal nerves sometimes block memory and issues appear. However, I was overall fairly happy with the majority of this performance. So sit back and enjoy an hour of ragtime in Washington, D.C. The link takes you to my section of the site, and from there you can scroll down to the Play This Performance link. Playback requires Real Player installed in your browser or desktop.

Once the December 7, 2008, performance is available it will also be posted here. If you want to watch that one live you can log on to the Millenium stage site around 5:55 to 6:00 PM EST on December 7 (night of the Kennedy Center Honors) for a live streaming feed.

Kennedy Center for the Performing Arts, Washington, D.C., April 18, 2008, by the Kennedy Center staff. Reproduction or distribution of this video outside of the original Kennedy Center site source is strictly prohibited.

Scott Joplin - 1907: The cover with Uncle Sam holding a flag would possibly indicate that this may be a patriotic march or fast two step. However, it is actually a very pleasant classic rag, and contains the expected Joplin note, "NOTICE: Do not play this piece fast. It is never right to play 'Ragtime' fast." Based on this and the French title, it is possible that publisher John Stark or his daughter named the piece, possibly even based on cover art availability. However, Joplin may have also had a say in the name, since there were various bars and performance venues named Nonpareil present in some of the locations where the composer lived. The A section is well constructed but unremarkable. The B section displays some experimentation with variations on the ragtime format, utilizing a flowing left hand melodic line under chords, alternating with right hand melody. The C section is similar to many of his lush trios of this era, though less complex harmonically. The D section is well syncopated, almost to the point of sounding improvisational, and shares the end of the B section in an expression of unity and continuity. Note that the title term came into the American lexicon in the mid-1880s in association with Irish-born John Edward Kelly, better known as boxer Jack Dempsey - The Non-Pareil (the original, not the 1920s fighter who took the same name), who remained undefeated in 41 bouts from 1883 to 1889. He was mostly victorious in subsequent bouts over the next few years until his early death in 1895 at age 33. While there may be no direct association between Dempsey and the Joplin piece, his extraordinary career and national fame may have certainly kept the word floating around in the public's consciousness for many years after. This performance was at the 2007 Scott Joplin Festival Legacy of Ragtime concert, and was one of the 100th anniversary pieces performed that afternoon.

Sedalia, Missouri, June 1, 2007, by Howard Vigorita

Julius Lenzberg - 1913: Lenzberg was well known for playing, and occasionally writing knock-offs of popular classical themes spun into rags. This is one of his best, incorporating themes from Franz Liszt's Hungarian Rhapsody #2 for piano. I have added a part of the original to the introduction, largely in an effort to remind the listener of the nature of the original Rhapsody (and also to show off a bit). The A section is largely made up of the ubiquitous three over four pattern found in Black And White Rag, 12th Street Rag, etc., but is unusual that it ends on the dominant (5) rather than the tonic (1), and is not returned to after B. The B section contains one of the primary bass themes of the Rhapsody, one that fans of the Bugs Bunny cartoon, Rhapsody Rabbit (1942), will know well, and essentially completes the idea started in section A. The trio bears little resemblance to any part of the Liszt original, but the trio interlude contains two of the prominent themes. As a result of the tempo that I play this piece at, and the fact that the A section is not repeated, I go through most of the rag twice to give it more content and variety. Of notable interest, in England and Australia via Francis, Day and Hunter publishers, this was released as Rhapsody Rag, not to be confused with the more common piece by Harry Jentes. There may have been a problem with "Hungarian" part, or perhaps the name was just more high-brow for that audience. Either way, it's always been at the top of my Liszt!

Sedalia, Missouri, February 23, 2008, by Tom Warner

Cecil Macklin - 1911: One of a series of "too much" pieces, such as Too Much Jinger and Too Much Raspberry, Too Much Mustard (the English translation) is essentially a non-syncopated two-step. Macklin was a British composer who wrote a few dance tunes intended for orchestras at society gatherings. Nonetheless, it was a popular hit in both the U.K. and the U.S. that was accompanied by a sequel, Plus Moutarde (More Mustard) by Louis Mentel. The charm of this piece is in its simplicity, in which the primary theme is comprised of short themes of essentially two repeated notes. The B section slips from F major into F minor, a device used to great effect in some of the best piano rags, and returns to the initial strain. This is followed by two short eight measure strains, one in the relative D minor, and another that is oddly enough notated but not signatured in Bb. The tune closes with a return to the opening trio of sections. This version is more like what I have recorded on my Championship CD series, and is based in part on a lively Lou Busch (Joe "Fingers" Carr) performance from 1951. In this case, Too Much Mustard is more of a foot-stomping rag with lots of syncopation and other playing conventions added. If it's too fast, I can wait a moment for you to ketch-up. I most certainly didn't relish that, of course.

Sedalia, Missouri, February 23, 2008, by Tom Warner

Artie Matthews - 1913: In spite of an output of only five rags written directly by Matthews, I have long considered him to be equal in general ability to the big three (Scott Joplin, James Scott and Joseph F. Lamb), and perhaps even more innovative in some regards. His arrangements of rags by other composers clearly have his stylistic imprint on them, and some of them, such as Cactus Rag and Agitation Rag could be considered as "extended pastimes" given the similarity. Note that like Joplin, Scott and Lamb he was published by John Stark, but that his talents lay beyond ragtime composing and arranging, and eventually spread to blues and early jazz. A lot of that comes through in this rag. As with the other Pastime Rags, this was most likely released some time after it was written, which may have been around 1912. Publisher John Stark had every confidence in Matthews' abilities as both an arranger and composer, but considered some of the Pastimes a bit too advanced for the average music consumer at the time of their composition. I first was exposed to Artie Matthews at the age of 5 through a recording of this rag by the legendary Paul Lingle on the only studio LP he ever cut. I'm not sure what it was about the piece, or the performance, that stuck with me, but this has long been my favorite of the five. It is entirely unique as a rag. The A section utilizes a modified tango, found in other pieces of the day, but not often shifting between the tonic and the relative minor. The B section is reminiscent of "villain music" played during the silent movies of the time. I tend to play the right hand an octave lower than written for a more dramatic effect. It is followed by an interesting variation on rag themes of the day complete with a full measure of rest. The ending is pure Matthews with a melody line that surrounds rhythmic chords. I'm sure you'll appreciate the intricacies of this fine rag as much as I do. In these performances I take the most liberties with the final section, and if the floor weren't made of concrete you'd hear me stomping a bit better.

Upper: Sedalia, Missouri, February 23, 2008, by Tom Warner
Lower: Sacramento, California, November 18, 2007, by Karen Jones

Edward Elzear "Zez" Confrey - 1921: Novelty ragtime is typically traced back to Felix Arndt's Nola (1915) and the initial pieces of George Cobb (Russian Rag, Rubber Plant, etc.). However, the true master of the popular novelty was Confrey. He also wrote a great deal of serious work throughout his life, but is best remembered for Kitten On The Keys, My Pet, Nickel in the Slot, and Dizzy Fingers. One of the most memorable novelty pieces around, Kitten was an instant hit, partially because it was released almost concurrently with a phonograph record of the tune played by the composer. Prior to this, publishers viewed piano rolls, and in particular, phonograph records as potentially detrimental to sheet music sales. In spite of its difficulty, KOTK sold very well, likely because of the recordings rather than in spite of it. As was a common practice of the time, it was released as a song a year after its debut. Confrey probably played on more piano rolls than we will ever know about, and developed his unique style by "tricking up" rags with fuller arrangements to create rolls that would sell better. Kitten starts with a consistent three over four pattern found in earlier rags such as Black and White or 12th Street. It is the trio that is most challenging with its octave heavy left hand in the opening measures. In this performance I call on elements of tricks inserted by Roy Bargy and Frankie Carle on their interesting recordings of this piece, plus several of my own, and some in the style of Lou Busch. So this is one mongrel hybrid of a Kitten!

Sedalia, Missouri, February 23, 2008, by Tom Warner

Bill Edwards, Adam Swanson and Marty Mincer: I have long appreciated good comedy and subtle slapstick over the overt silly pratfalls. Buster Keaton was among the best in this genre, and for many people even more accessible and indefatigable than the tramp himself, Charlie Chaplin. Along with every-man Harold Lloyd, they dominated comedy from the late 1910s through the late 1920s. This short, captured here during a live performance, was Keaton's first solo outing after having grown up literally on the stage, then having worked for three years with Roscoe "Fatty" Arbuckle. Sears and Roebuck was one of many firms that sold houses out of catalogs, delivering the raw ingredients to your site, and you do the rest. That is the basis for this simple yet elegantly done comedy. In order to make it a bit more interesting for the audience and present different points of view on how pianists might have approached this, Marty, Adam and I split this up by days, in order from Monday to Sunday, Bill, Adam, Marty, Bill, Adam, Marty, Bill. My approach is usually a combination of known pieces or set riffs along with trying to match the action with sound effects or changes in style and tempo. Adam picks approriate tunes for the situation - note A Shanty in Old Shanty Town - and also works to some degree to match the action, particularly on the difficult to accompany Friday the 13th disaster. Marty works more with riffs, providing a solid musical background with less elaboration, but evoking a certain feel. Note that when the house falls around Keaton that he re-did that gag in Steamboat Bill. If not in the right spot, he could easily be crushed by the extremely heavy frame, so this was a dangerous stunt. The best gag in the film is at the end when the house is in clear peril of being... and it isn't, but it then... well, I don't want to spoil it TOO much. If you like this, you'll want to get the complete The Art of Buster Keaton set on Kino Video, which includes his landmark The General and finely done The Navigator, available at Amazon.com.

Sedalia, Missouri, February 23, 2008, by Tom Warner

Robin Frost - 1980: California resident Robin Frost has been active for nearly three decades in composing a number of pieces that evoke the hot piano styles of the late 1920s through the 1930s. These are no-holds-barred rip-roaring works that go beyond relying on riffs, and represent the finest novelty and early jazz playing of that era. Frost adds many contemporary wrinkles to his pieces, however, and takes it one or two steps further. Much of his composition is done using MIDI instead of traditional notation. In doing so, he creates a fantastic sound, but much of his work can't be readily be played, even by the most seasoned pianists with twelve fingers, something he willingly has admitted. But if it sounds good, then why not. One of the few pieces of his that CAN be played, albeit with lots of practice and effort, is Space Shuffle. It takes years of knowledge of and experience with these styles and months of practice just to pull off a piece like this. That doesn't explain how Adam Swanson, not quite 16 when this was performed, is able to do it, but he has not met any obstacle yet that he has been thwarted by - even Robin Frost. So in this duet I do the best I can to keep up with Adam and enhance Space Shuffle with a few extra notes where there are spaces available to do so. The end result, whether solo or duet, still leaves many reeling in the sheer dynamic runaway train force of the work, including the pianists at times.

Sedalia, Missouri, February 23, 2008, by Tom Warner

Nat Johnson - 1914: A lesser known composer, Nat Johnson wrote a few good rags, and managed at least this one interesting ragtime exercise, which is essentially a flashy showcase for arpeggios. Although scales have been used quite often in many other rags of the era (and Hanon exercises more recently), this is one of the few that effectively uses arpeggios (broken chords) throughout. Of note is the trio which runs through a gamut of major chords in a 1 3 6 2m 5 1 2 5, well established in the key F but never staying in that tonality for more than two measures at a time. A lot of credit for salesmanship and the high collectible value of this rag needs to be given to the innovative cover, featuring a "gal in calico" that blends in with the background of calico. This rag also makes for a great duet, as demonstrated here with Marty Mincer (with one minor loss of traction). I usually play a secondo to Marty's dynamic arrangements, so you will sometimes here a reinforcement of the melody, or a harmonic of it, and sometimes just counterlines in a different octave. We also do plaid and gingham on request, but no paisley!

Sedalia, Missouri, February 23, 2008, by Tom Warner

Harry J. Lincoln (as Charles C. Sweeley) - 1901/1905: Charles C. Sweeley was a cornetist and a member of the famed Repasz Band. This is a Williamsport, Pennsylvania community group that dates back to 1831, renamed after long-time director Daniel Repasz in 1859, and which still plays into the 21st century. Lincoln had written a 6/8 march piece honoring the band as early as 1896 or 1897, but had trouble selling it to a variety of publishers. After the success of Midnight Fire Alarm, plus in need of money, he was able to sell it to Mr. Sweeley who subsequently published Repasz Band under his own banner and composition credit. Having not marketed the piece very well, Sweeley let it drop. As Lincoln's situation improved he reformed his own publishing company and took back Repasz Band. However, either out of respect for Sweeley or because the parentage had been established through copyright, he left Sweeley's name on the composition. After Lincoln dissolved his small publishing firm in 1903 he was hired on at Vandersloot Music in 1904 after Vandersloot published Heaven's Artillery. Owner Frederick W. Vandersloot also bought the Lincoln copyrights, and wanted to meet the composer of the marvelous Repasz march. At this point Lincoln revealed it was his own, but they continued to publish it with Sweeley's name until the mid 1910s. When the copyright was renewed in 1929 Lincoln reclaimed the piece as his own, which was reinforced by a sworn statement from Sweeley himself. Even so, members of the family still contest the story, and the handwriting on the statement. Given Lincoln's prolific career and Sweeley's minimal output, it is more likely that Lincoln possibly contributed to a few more Sweeley pieces (unconfirmed at this time) rather than the other way around. In this duet with Marty Mincer and myself, we try to find the driving potential within the piece, particularly in the trio and the interlude. It was performed often by bands as well, so just picture us performing it as a 176 key orchestra.

Sedalia, Missouri, February 23, 2008, by Tom Warner