Editing Scott Joplin (section)

==Revival==
[[File:Scott Joplin St.Louis Walk of Fame 1996.jpg|thumb|266px|Joplin's star on the [[St. Louis Walk of Fame]]]]

Recordings of Joplin compositions were released by [[Tommy Dorsey]] in 1936, [[Jelly Roll Morton]] in 1939, and [[J. Russel Robinson]] in 1947. "Maple Leaf Rag" was the Joplin piece found most often on [[78 rpm]] records.<ref name="Jasen 1981 pp. 319" />

In the 1960s, a small-scale reawakening of interest in classical ragtime was underway among some American music scholars, such as Trebor Tichenor, [[William Bolcom]], [[William Albright (musician)|William Albright]], and [[Rudi Blesh]]. [[Audiophile Records]] released a two-record set, ''The Complete Piano Works of Scott Joplin, The Greatest of Ragtime Composers'', performed by [[Knocky Parker]], in 1970.<ref>''The Complete Piano Works of Scott Joplin, The Greatest of Ragtime Composers'', John W. (Knocky) Parker, piano. Audiophile Records (1970) AP 71–72</ref>

In 1968, Bolcom and Albright interested [[Joshua Rifkin]], a young musicologist, in the body of Joplin's work. Together, they hosted an occasional ragtime-and-early-jazz evening on [[WBAI]] radio.<ref>[[#Waldo76|Waldo (1976)]] pp. 179–82.</ref> In November 1970, Rifkin released a recording called ''[[Scott Joplin: Piano Rags]]''<ref>{{cite web|url=http://nonesuch.com/albums/piano-rags|title=''Scott Joplin Piano Rags'' Nonesuch Records CD (with bonus tracks)|website=Nonesuch.com|access-date=March 19, 2009}}</ref> on the [[Classical music|classical]] label [[Nonesuch Records|Nonesuch]]. It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record.<ref>{{cite web|url=http://nonesuch.com/about |title=Nonesuch Records|website=Nonesuch.com |access-date=March 19, 2009}}</ref> The ''[[Billboard (magazine)|Billboard]]'' Best-Selling Classical LPs chart for September 28, 1974, has the record at number 5, with the follow-up "Volume 2" at number 4, and a combined set of both volumes at number 3. Separately, both volumes had been on the chart for 64 weeks. In the top seven spots on that chart, six of the entries were recordings of Joplin's work, three of which were Rifkin's.{{sfnp|Anon.|1974a|p=61}} Record stores found themselves for the first time putting ragtime in the classical music section. The album was nominated in 1971 for two [[Grammy Award]] categories: [[Grammy Award for Best Album Notes|Best Album Notes]] and [[Grammy Award for Best Instrumental Soloist Performance (without orchestra)|Best Instrumental Soloist Performance (without orchestra)]]. Rifkin was also under consideration for a third Grammy for a recording not related to Joplin, but at the ceremony on March 14, 1972, Rifkin did not win in any category.<ref>{{cite news|url=http://theenvelope.latimes.com/factsheets/awardsdb/env-awards-db-search,0,7169155.htmlstory?target=article&searchtype=all&Query=|title=Entertainment Awards Database|work=Los Angeles Times|access-date=March 17, 2009}}</ref> He did a tour in 1974, which included appearances on [[BBC]] Television and a sell-out concert at London's [[Royal Festival Hall]].<ref name=NYT74/> In 1979, [[Alan Rich]] wrote in the magazine ''[[New York (magazine)|New York]]'' that by giving artists like Rifkin the opportunity to put Joplin's music on disc, [[Nonesuch Records]] "created, almost alone, the Scott Joplin revival."{{sfnp|Rich|1979|p=81}}

In January 1971, [[Harold C. Schonberg]], music critic at ''The New York Times'', having just heard the Rifkin album, wrote a featured Sunday edition article titled "Scholars, Get Busy on Scott Joplin!"<ref>{{cite news|first=Harold C.|last=Schonberg|author-link=Harold C. Schonberg|title=Scholars, Get Busy on Scott Joplin!|url=https://www.nytimes.com/1971/01/24/archives/scholars-get-busy-on-scott-joplin.html|work=The New York Times|date=January 24, 1971|access-date=March 20, 2009 }}</ref> Schonberg's call to action has been described as the catalyst for classical music scholars, the sort of people Joplin had battled all his life, to conclude that Joplin was a genius.<ref>[[#Waldo76|Waldo (1976)]] p. 184.</ref> [[Vera Brodsky Lawrence]] of the [[New York Public Library]] published a two-volume set of Joplin works in June 1971, titled ''The Collected Works of Scott Joplin'', stimulating a wider interest in the performance of Joplin's music.

In mid-February 1973 under the direction of [[Gunther Schuller]], the [[New England Ragtime Ensemble|New England Conservatory Ragtime Ensemble]] recorded an album of Joplin's rags taken from the period collection ''Standard High-Class Rags'' titled ''Joplin: [[The Red Back Book]]''. The album won a [[Grammy Award]] as Best Chamber Music Performance in that year and became [[Billboard (magazine)|''Billboard'']] magazine's Top Classical Album of 1974.<ref>{{cite magazine |title=Top Classical Albums |magazine=Billboard |date=December 26, 1974 |volume=86 |issue=52 |page=34 |url=https://books.google.com/books?id=hAkEAAAAMBAJ&q=joplin&pg=RA2-PA14-IA9 |access-date=October 1, 2019}}</ref> The group subsequently recorded two more albums for Golden Crest Records: ''More Scott Joplin Rags'' in 1974 and ''The Road From Rags To Jazz'' in 1975.
[[File:The Sting (1973 alt poster).jpeg|thumb|285x285px|Cover of the 1973 film ''[[The Sting]]'', which featured Joplin's music]]

In 1973, film producer [[George Roy Hill]] contacted Schuller and Rifkin separately, asking both men to write the score for a film project he was working on: ''[[The Sting]]''. Both men turned down the request because of previous commitments. Instead, Hill found [[Marvin Hamlisch]] available and brought him into the project as composer.<ref name=Waldo187>[[#Waldo76|Waldo (1976)]] p. 187.</ref> Hamlisch lightly adapted Joplin's music for ''The Sting'', for which he won an [[Academy Award for Best Original Score#1970s|Academy Award for Best Original Song Score and Adaptation]] on April 2, 1974.<ref name=LATimes>{{cite news|url=http://theenvelope.latimes.com/factsheets/awardsdb/env-awards-db-search,0,7169155.htmlstory?target=article&searchtype=all&Query=|title=Entertainment Awards Database|work=Los Angeles Times|access-date=March 14, 2009}}</ref> His version of "The Entertainer" reached number 3 on the [[Billboard Hot 100|''Billboard'' Hot 100]] and the [[American Top 40]] music chart on May 18, 1974,<ref>{{cite web|url=http://www.charismusicgroup.com/Cue%20Sheets/05-18-74.pdf|title=Charis Music Group, compilation of cue sheets from the American Top 40 radio Show|access-date=September 5, 2009|archive-date=August 26, 2012|archive-url=https://web.archive.org/web/20120826034807/http://www.charismusicgroup.com/Cue%20Sheets/05-18-74.pdf|url-status=dead}}</ref>{{sfnp|Anon.|1974b|p=64}} prompting ''The New York Times'' to write, "The whole nation has begun to take notice."<ref name=NYT74>{{cite news|url=https://select.nytimes.com/mem/archive/pdf?res=F20A17F63A5C1A7A93C3A81783D85F408785F9|work=The New York Times|author=Kronenberger, John|title=The Ragtime Revival – A Belated Ode to Composer Scott Joplin|date=August 11, 1974}}</ref> Because of the film and its score, Joplin's work became appreciated in both the popular and classical music world, becoming (in the words of music magazine ''[[Record World]]'') the "classical phenomenon of the decade."<ref>''Record World Magazine'' July 1974, quoted in {{harvp|Berlin|1994|p=251}}.</ref> Rifkin later said of the film soundtrack that Hamlisch lifted his piano adaptations directly from Rifkin's style and his band adaptations from Schuller's style.<ref name=Waldo187/> Schuller said Hamlisch "got the Oscar for music he didn't write (since it is by Joplin) and arrangements he didn't write, and 'editions' he didn't make. A lot of people were upset by that, but that's show biz!"<ref name=Waldo187/>

On October 22, 1971, excerpts from ''Treemonisha'' were presented in concert form at [[Lincoln Center for the Performing Arts|Lincoln Center]], with musical performances by Bolcom, Rifkin and [[Mary Lou Williams]] supporting a group of singers.{{sfnp|Ping-Robbins|1998|p=289}} Finally, on January 28, 1972, T.J. Anderson's orchestration of ''Treemonisha'' was staged for two consecutive nights, sponsored by the Afro-American Music Workshop of [[Morehouse College]] in [[Atlanta]], with singers accompanied by the [[Atlanta Symphony Orchestra]]<ref name=Peterson1993>{{cite book|title=A century of musicals in black and white|last=Peterson|first=Bernard L.|year=1993|publisher=Greenwood Press|location=Westport, Connecticut|isbn=0-313-26657-3|page=[https://archive.org/details/centuryofmusical0000pete/page/357 357]|url=https://archive.org/details/centuryofmusical0000pete|url-access=registration|access-date=March 20, 2009}}</ref> under the direction of [[Robert Shaw (conductor)|Robert Shaw]], and choreography by [[Katherine Dunham]]. Schonberg remarked in February 1972 that the "Scott Joplin Renaissance" was in full swing and still growing.<ref>{{cite news|first=Harold C.|last=Schonberg|author-link=Harold C. Schonberg|title=The Scott Joplin Renaissance Grows|url=https://www.nytimes.com/1972/02/13/archives/the-scott-joplin-renaissance-grows.html|work=The New York Times|date=February 13, 1972|access-date=March 20, 2009}}</ref> In May 1975, ''Treemonisha'' was staged in a full opera production by the [[Houston Grand Opera]]. The company toured briefly, then settled into an eight-week run in New York on [[Broadway theatre|Broadway]] at the [[Palace Theatre (New York City)|Palace Theatre]] in October and November. This appearance was directed by Gunther Schuller, and soprano [[Carmen Balthrop]] alternated with [[Kathleen Battle]] as the title character.<ref name=Peterson1993/> An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production.{{sfnp|Ping-Robbins|1998|p=289}}

1974 saw the [[Birmingham Royal Ballet]] under director [[Kenneth MacMillan]] create ''[[Elite Syncopations (ballet)|Elite Syncopations]]'', a ballet based on tunes by Joplin and other composers of the era.<ref>{{cite web|title=''Elite Syncopations'': a history|publisher=[[Birmingham Royal Ballet]]|url=http://www.brb.org.uk/4237.html|access-date=September 6, 2009|url-status=dead|archive-url=https://web.archive.org/web/20131021180306/http://www.brb.org.uk/4237.html|archive-date=October 21, 2013}}</ref> That year also brought the premiere by the [[Los Angeles Ballet]] of ''Red Back Book'', choreographed by [[John Clifford (choreographer)|John Clifford]] to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra.<ref>{{cite news |last=Cariaga |first=Daniel |date=November 25, 1974 |title=Clifford Completes Eight-Year Cycle |pages=E20 |work=Los Angeles Times}}</ref>

Copyright attorney [[Alvin Deutsch]] worked with Vera Brodsky Lawrence to make sure the Joplin estate owned the rights to his work. Deutsch negotiated with New York Public Library to get Treemonisha copyright and got the Joplin estate $60,000 in the 1970s when someone infringed on that copyright. Their work helped to mount the show ''[[Treemonisha]]'' via Dramatic Publishing.