Harpsichord Neupert with two manuals, with seven pedals controlling the registrations, including 8′ and 4′, “lute,” and a 16′ which doubled the low bass notes.
Released 1973 by Klavier Records – KS-516
Produced by Harold L. Powell
Mastering by Steve Guy
Cover by Tri·Arts Inc.
Library of Congress No. 72-750685 (same number as the first recording)

SIDE A
00:00 1. Paragon Rag (1909)-Joplin
03:53 2. The Entertainer (1902)-A Ragtime ‘Two Step-Joplin
07:46 3. Something Doing (1903)-A Ragtime Two Step (or) A Cake Walk March-Joplin &. Scott Hayden
11:39 4. The Cascades (1904)-A Rag-Joplin
15:10 5. The Chrysanthemum (1904)-An Afro-American Intermezzo-Joplin
19:21 6. Scott Joplin’s New Rag (1912)-Joplin

SIDE B
23:30 1. Original Rags (1899)-Joplin
28:16 2. Solace (1909l-A Mexican Serenade-Joplin
33:12 3. Lily Queen (1907)-A Ragtime Two Step-Joplin & Arthur Marshall
37:03 4. Pleasant Moments (1909)-Ragtime Waltz-Joplin
40:37 5. Magnetic Rag (1914)-Joplin
45:49 6. Rag-Time Dance (1906)-A Stop-Time Two Step-Joplin

Scott Joplin 1868-1917
Ragtime is one of America’s truly original musical
creations. Scott Joplin’s Rags have become American
classics and should be respectfully afforded their place
in our cultural heritage as the best examples of an
idiom and an art form. Rags, like the waltzes of
Schubert and Chopin, are valid artistic expressions of
an epoch. Time has obliterated most of the social
prejudices associated with Ragtime and we are now
better able to assess the music without bias.
Marches and Waltzes were popular in the late 19th
century and Scott Joplin’s first published compositions
in 1896 were in these two salable musical styles.
ORIGINAL RAGS, Joplin’s first Rag, appeared in March
of 1899 and was followed three months later by his
greatest commercial success, the famous Maple Leaf
Rag. Joplin, like dozens of others, had until then
earned his living playing in vaudeville, saloons and
sporting houses but he’ had the incentive and
determination to break away at the first opportunity.
The royalties from his published works afforded him
this opportunity. From 1900 until his death in 1917 his
income came primarily from his composing and
teaching.

The . exceptional musicianship of Wm. Neil Roberts
combined with the tonal resources of a modern
harpsichord bring to Ragtime a refreshing elegance
and ease. In the hands of a sympathetic and scholarly
artist, an instrument is but a tool for musical
expression. Bach, Couperin and Scarlatti each had a
distinctly personal way of writing for the harpsichord
and Roberts’ performances on this recording
demonstrate still another, though neglected, possible
use of the instrument.
Wm. Neil Roberts holds two degrees in musicology,
titudied harpsichord with Alice Ehlers and is well
known for his clas’sical recordings and concert
appearances. This recording as well as “Great Scott!
Ragtime on the Harpsichord” (KS SID) and “The Nine
Muses” (KS 506) are testimonies to Roberts’ musical
impartiality, sensitivity and sincerity; qualities admired
and respected by his pupils, friends and audiences.
Harold L. Powell

#Neupert #WilliamNeilRoberts