Chicken Chowder
Irene Giblin
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Browse piano sheets by Irene Giblin on Zen Virtual Piano. RagPiano says Irene Giblin, a good piano student showing natural talent in her adolescence, was first employed as a music demonstrator by the composers Eddie Dustin and Charles N. Daniels at the Grand Leader department store in St. Louis. She was hired at the tender but eager age of fourteen to play all of the latest hits from the Whitney-Warner list, later the Jerome H. Remick list. A department-store job in adolescence and a later runaway hit can be read as a musical life that moved from demonstrating other peopleās pieces to publishing her own, a change in the kind of work she did with music. Over a period of six years Giblin published ten pieces, most of them piano rags, most issued by Remick. Among them, Sleepy Lou and The Aviator Rag were substantial sellers, but it was the simply styled Chicken Chowder, with essentially one theme turned in different directions for each strain, that was her runaway hit. RagPiano quotes a line that calls her St. Louisā youngest composer and describes Chicken Chowder as full of originality and catchy passages. A tune built on essentially one theme turned in different directions can be read as a simple design that became a runaway hit. Chicken Chowder: Characteristic Two Step was published in New York by Jerome H. Remick and Company in 1905. A page at grainger.de says that it was a favourite with string groups because of its chromatic passages, and that Giblinās music in general features a distinctive brand of chromaticism. The ascending and descending chromatic scales are used to simulate inversion, tying together the A and C strains. Chromatic scales that tie the A and C strains together look like a unifying device inside a simple two-step, in keeping with the distinctive chromaticism a page at grainger.de finds in her music. She eventually gave up composing and performing professionally within two years of marrying the accountant Edward Patrick OāBrien in late 1908, and her remaining rags, including Columbia Rag and Ketchup Rag, appeared in 1910 and 1913, ending with The Dixie Rag. According to her son, Ed OāBrien, she was an extremely talented pianist who played all types of music extremely well, but ragtime was her first love. She spent much of the Great Depression and the war years without an instrument, but her husband eventually procured a Baldwin baby grand that she treasured for the rest of her life; she died in St. Louis at age 85. A pianist without a piano for years, who treasured the one she received, suggests a love of playing that outlasted her publishing career.
Browse piano sheets by Irene Giblin on Zen Virtual Piano.
RagPiano says Irene Giblin, a good piano student showing natural talent in her adolescence, was first employed as a music demonstrator by the composers Eddie Dustin and Charles N. Daniels at the Grand Leader department store in St. Louis. She was hired at the tender but eager age of fourteen to play all of the latest hits from the Whitney-Warner list, later the Jerome H. Remick list. A department-store job in adolescence and a later runaway hit can be read as a musical life that moved from demonstrating other peopleās pieces to publishing her own, a change in the kind of work she did with music.
Over a period of six years Giblin published ten pieces, most of them piano rags, most issued by Remick. Among them, Sleepy Lou and The Aviator Rag were substantial sellers, but it was the simply styled Chicken Chowder, with essentially one theme turned in different directions for each strain, that was her runaway hit. RagPiano quotes a line that calls her St. Louisā youngest composer and describes Chicken Chowder as full of originality and catchy passages. A tune built on essentially one theme turned in different directions can be read as a simple design that became a runaway hit.
Chicken Chowder: Characteristic Two Step was published in New York by Jerome H. Remick and Company in 1905. A page at grainger.de says that it was a favourite with string groups because of its chromatic passages, and that Giblinās music in general features a distinctive brand of chromaticism. The ascending and descending chromatic scales are used to simulate inversion, tying together the A and C strains. Chromatic scales that tie the A and C strains together look like a unifying device inside a simple two-step, in keeping with the distinctive chromaticism a page at grainger.de finds in her music.
She eventually gave up composing and performing professionally within two years of marrying the accountant Edward Patrick OāBrien in late 1908, and her remaining rags, including Columbia Rag and Ketchup Rag, appeared in 1910 and 1913, ending with The Dixie Rag. According to her son, Ed OāBrien, she was an extremely talented pianist who played all types of music extremely well, but ragtime was her first love. She spent much of the Great Depression and the war years without an instrument, but her husband eventually procured a Baldwin baby grand that she treasured for the rest of her life; she died in St. Louis at age 85. A pianist without a piano for years, who treasured the one she received, suggests a love of playing that outlasted her publishing career.
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Irene Giblin
Common questions
Irene Giblin was a St. Louis pianist and ragtime composer who published ten pieces over six years, most of them piano rags.
It is Giblinās runaway hit, published by Jerome H. Remick and Company in 1905 as a characteristic two-step built on essentially one theme.
She was hired at fourteen as a music demonstrator at the Grand Leader department store in St. Louis.
She gave up composing and performing professionally within two years of her marriage in late 1908, though remaining rags were published in 1910 and 1913.