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Ragtime Music in Québec Featuring the Rags and Compositions of
Jéan-Baptiste Lafrenière
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Jéan-Baptiste LaFrenière, described as the national
Strauss of Canada, was born in 1874 in
Maskinongé, Québec. According to Plante (1994) Lafrenière spent
most of his youth in Montréal and Louiseville where
he studied piano, organ, violin, cornet, and music
theory at the College St-Joseph de Berthier
(1887-1892). Gilmore
(1988:25) suggests that Lafrenière was the first
person known to have performed ragtime in Montréal.
According to Plante (1994), Lafrenière contracted tuberculosis in 1911 and was forced to subsist on the slender income earned from his music publications and he died January 4, 1912, at age 37, leaving behind a widow (Victoria Danis) and two young children. He is buried in the Côte-des-Neiges cemetery in Montréal.
A number of CDs recorded by Mimi Blais include LaFrenière
compositions.
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Jéan-Baptiste Lafrenière appears to have published 44 compositions (all of which are below), includings rags, marches and two-steps, mazurkas, gavottes, songs and waltzes. Four of these compositions were specifically targeted as rags by including "rag" as part of their title: Raggity Rag (1907) (below), Balloon Rag (1911) (below), Taxi Rag (1911) (below), and John Chow Chow Rag (1912) (below). These four rags – along with Hip! Hip! Hourra! Two Step (1907) (below) and Silly-Ass Two Step (1907) (below) – were the six Lafrenière compositions included by Clément Plante in his folio called Jéan-Baptiste Lafrenière (1874-1912): Rags & Two Steps (Montréal: Fondation ragtime du Québec, 1994). However, Lafrenière also published another two step, being Ben, two-step pour orchestre (1911) (below). |
I came across a reference to a composition by Lafrenière that was not previously listed in any known bibliographies I had seen. The piece is Au pole nord: Two step (1909) (below). However, on examination of the score, one sees that it is note-for-note his composition from two year's previously, being Silly Ass. The piece is dedicated to Captain Bernier and the crew of the "Arctic." Bernier was a Canadian explorer (1852-1934) who led a number of expeditions by ship to Canada's north. Did Bernier pay Lafrenière for the piece (I assume not) or was it merely a patriotic gesture by Lafrenière? Perhaps Lafrenière's orchestra played at the dock at one of the launches of the "Arctic." Did Lafrenière get paid separately for this piece? Was it well known that he was repackaging Silly Ass as Au pole nord? When I have time, I hope to research this piece to see if there are answers to the questions raised.
Lafrenière also published 4 marches, one of which was written in common time (4/4) with the other three being written in 6/8 time (Scott Joplin also published a number of marches in both meters; March Majestic, for example, was written in 6/8 time).
The sheet music of Jéan-Baptiste Lafrenière below is all in the public domain and is divided into the following three categories – each in chronological order – followed by a list of his lost and unpublished works:a) Rags, Marches, Two Steps and Other Ragtime-Era Compositions (19 pieces)
b) Songs (10 pieces)
c) Waltzes (15 pieces)
d) Unpublished and Lost Works (8 pieces)
a) Rags,
Marches, Two-Steps and Other Compositions of
Jéan-Baptiste LaFrenière
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c) Waltzes
by Jéan-Baptiste LaFrenière
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d) Unpublished
and Lost Compositions of Jean-Baptiste
Lafrenière
Unpublished
1) Thomas, ouverture pour orchestre – 1907
Lost Works of Jean-Baptiste Lafrenière (Chronological Order)
1) L'Echo de Louiseville, morceau de fanfare (1894)
2) Messe de Noel (1894)
3) Alfred March (1895)
4) L'Etoile du Nord, morceau de fanfare (1896)
5) Pace Domine (1897)
6) Ecce Fidelis (1897)
7) Tantum Ergo (1897)
2) Ragtime
Era Music in Québec
Set out below is a listing of over 145 compositions sourced primarily from either the National Library of Québec or Library and Archives Canada as ragtime-era compositions published in Québec (not including those by Jéan-Baptiste Lafrenière listed above). Of the 142 pieces listed below, 105 have the full-text sheet music available (for free).
Only three of the compositions below have the word "rag" in the title: Some Rag: A Real Live One (Willie Eckstein, below), Chewing Rag (Alcide Giroux, below) and Rag Tags Rag (Harry Thomas, below).
Included in the list below are 44 compositions published by Delmar Music of Québec. The entry in the Encyclopedia of Music in Canada for "Delmar Music" suggests there are 50 known publications by Delmar, covering the range of music from 1907 to 1919. Given the 44 Delmar publications below and the one Delmar publication listed above (Raggity Rag by Jéan-Baptiste Lafrenière), this results in 45 named publications published by Delmar Music, all of which are extremely rare and almost never show up on eBay sheet music auctions. I will endeavour to verify any additional sheet music published by Delmar Music.
Some of the more prolific composers below include:
According to Hutton (1985), Eckstein was earning $15,000 per year while on tour (a lot in those days) but when he grew too old, the novelty of the "act" wore off and he returned home to Montréal. In Montréal, he was the resident pianist at the Strand's Theatre, where he was billed as "The World's Foremost Motion Picture Interpreter" (Gilmore 1988: 17). Apparently, fans would come to the movie theatre primarily to listen to him, not necessarily to watch the movies. One of his protégés was Harry Thomas, and he also played with Vera Guilaroff.
An advertisement promoting a "farewell recital" on 19 May 1905 by a young Eckstein before he left Montréal to embark on an American and European tour included in the programme a number of classical pieces including pieces composed by Bach, Beethoven, Scarlatti, Mendelssohn, as well as an "Improvisation" on "a theme to be given by the audience":
Source: National Library of Québec
Eckstein, along with Harry Thomas, composed the Delirious Rag and the Perpetual Rag, with the likelihood that these compositions were never published or transcribed by them.
Eckstein was the first person to record Joplin's Maple Leaf Rag as a piano solo (1923). According to Hutton (1985), Eckstein was admired by Teddy Roosevelt, and Eubie Blake described Eckstein as "one of the best I ever heard."
After "talking" moving pictures arrived, Eckstein retired from the movie theatre and played piano at the Chateau Ste Rose in Montréal for 20 years as "Mr. Fingers" (Hutton 1985). Eckstein continued to play piano until age 73, but was forced to retire when he broke his arm. In May 1963 at an evening tribute in his honour, Eckstein collapsed into a coma after the ceremony, never to recover (he died several months later).
For a 12-minute documentary film by Mark Borowsky, see "The Life & Times of Willie Eckstein".
The National Library of Québec has an audio recording of the Willie Eckstein Trio playing Lest You Forget and Holland Moon.
The McCord Stewart Museum in Montreal has an online biography of Willie Eckstein. There is also an entry for him in Encyclopedia of Music in Canada. The following (from the sheet music cover to Floating Along) is a photo of Eckstein as a young man:
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[view sheet music] Source:York University Sheet Music Collections (Toronto) [top] |
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In addition to the foregoing compositions, the Willie Eckstein Fonds (P767) from the McCord Museum in Montréal, QC, contain in P767/B3 Musical Works (1938-1960) typewritten or handwritten lyrics to the following songs by Eckstein (but I have been unable to verify if these songs were ever put to music and transcribed or published as sheet music for sale – it seems unlikely that it has) (note: the links below are to a single page containing the lyrics as an example; in the original fond, there are often multiple versions of the lyrics, some containing edits or handwritten changes – consult the original fond to see all examples): |
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The
National
Library of Québec has done a wonderful
thing by digitizing Le Passe Temps,
a French language musical
periodical/newspaper than ran from 1895 to
1945.
The Encyclopedia of Music in Canada has an entry for Le Passe Temps that describes the periodical in more detail throughout its history. |
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Mimi Blais continues the French-Canadian tradition in ragtime through her performances of the music of Jéan-Baptiste Lafrenière (the Encyclopedia of Music in Canada has a detailed entry for Mimi here). Likewise, Gilles Poirier and Gabriel Bourque of Montréal used to perform ragtime duets as Two Pianos Alive.
5) Bibliography
[top]