| |
No.71 St. Julian's: Ragtime for the Dexterous Soul
Titel nach Uploader: St. Julian's: Ragtime für die Geschickte Seele, Op.2 No.71
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
e-Moll |
Schwierigkeitsgrad |
Schwer |
Länge |
3'27 |
St. Julian's: Ragtime für die geschickte Seele
Diese Melodie ist das einundsiebzigste Ziel in der Sammlung der Serie "Ragtime im Rotlichtviertel". Dieses Stück spielt im Stadtteil St. Julian's Paceville.
Die Hauptfigur in diesem Stück ist ein 33-jähriger HNO-Arzt. Diese Person hatte ein schwieriges Jahr hinter sich, in dem viele Klienten, denen die Person half, zahlreiche irreversible Zustände hatten, die dazu führten, dass die Person Asyl beantragte. Daher beschloss die Hauptfigur, einen 49-tägigen Urlaub zu machen und einen aufregenden Ort zu besuchen, um sich neben dem Besuch des Dragonara Point und der Millenium Chapel einen Traum auf der Bucket List zu erfüllen. Das bedeutete, dass die Hauptfigur ein finanzielles Abenteuer erlebte, um sich für das berühmte Battle of Malta Pokerturnier anzumelden. Obwohl er in seinem vorletzten Studienjahr viermal Poker gespielt hatte, belegte er den neunten Platz von 625 Personen. Am wichtigsten ist, dass die Hauptfigur ihre erste Beichte in der Kirche St. Petrus und St. Paulus ablegte.
Die Hauptfigur fand sogar Zeit, den Gianni Bencini Ground zu besuchen, um ein Match der Malteser-Cup-Runde der 32 zu sehen. Leider ließ das schiefe Spiel die Hauptfigur wütend gähnen, sehr zum Leidwesen der Stadionbesucher und vor allem für die Videocrew, die das unaufhörliche Gähnen der Person aufzeichnete. Um der ängstlichen Menge zu entkommen, suchte die Hauptfigur nach einem anderen geeigneten Ort, um den Urlaub fortzusetzen.
Die Hauptfigur entschied sich für einen Powerwalk alleine und erreichte schließlich das Viertel Paceville, das 64 Stunden lang geschäftig gewesen war. Dort bemerkte die Hauptfigur eine Person mit flachsblondem Haar, die ein kämpfender Medizinstudent im ersten Jahr war. Auf den ersten Blick sahen sich beide Personen in die Augen und in ihre Hände, wobei beide die effektive Eigenschaft der letzteren bemerkten, beidhändig zu sein. Die beiden Personen teilten sich dann eine Nacht in der Nähe einen Kaffee, tranken Espresso und erinnerten sich an ihr spirituelles Erwachen an der Manwel Dimech Bridge.
Dieses Stück hat ein Format von 4AABCADDAA. Grundlage für dieses Stück waren Alexander Glasunows "Präludium und Fuge in d-Moll" und der Spanische Tanz aus "Raimonda".
Nr.72 Ouagadougou: Ragtime für die Heilige Seele
Titel nach Uploader: Ouagadougou: Ragtime für die Heilige Seele, Op.2 No.72
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
E-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'38 |
Diese Melodie ist das zweiundsiebzigste Ziel in der Sammlung der Serie "Ragtime im Rotlichtviertel". Dieses Stück spielt im Stadtteil Dapoya von Ouagadougou.
Die Hauptfigur in diesem Stück ist ein 30-jähriger religiöser Aktivist und Laienprediger. Diese Person war ein Pragmatiker, wenn es um religiöse Angelegenheiten ging, und die meisten verbanden traditionelle und moderne Wege. Bis vor einigen Monaten reiste der Charakter selten außerhalb seines Heimatlandes und suchte eine neue Herausforderung. Dazu warf die Hauptfigur einen makellosen Bleistift auf eine Papierkarte und der Bleistift landete auf Ouagadougou.
So kam die Hauptfigur am Flughafen von Ouagadougou an und trug knallpinke Shorts und ein lauwarmes burgunderrotes Poloshirt. Unterwegs trug die Person auch vier Koffer mit sauberem Wasser, Delikatessen und anderen verderblichen Gegenständen, die als Spenden zusammen mit Stopps sowohl an der Großen Moschee von Ouagadougou als auch an der Kathedrale von Ouagadougou übergeben wurden. Die Spenden waren nur der Anfang, und erstaunlicherweise bemerkt die Hauptfigur, dass ein zufälliges Wunder die Koffer vervierfacht hat. Damit würde die Menge an Wasser und Nahrung ausreichen, um mindestens die Hälfte des Stadions zu ernähren. Dieses Wunder ermutigte die Person, das Stade du 4 Août 1983 zu besuchen, wo das Stadion ein Qualifikationsspiel zur Afrikanischen Nationenmeisterschaft ausrichtete. Das Wasser und die Lebensmittel erwiesen sich als nachhaltig, da das gesamte Stadion die Ware erhielt.
Trotzdem fühlte sich die Hauptfigur, während sie einen Machtschritt machte, immer noch leer. Das war bis zur Ankunft im Bezirk Dapoya der Stadt, wo zwei Personen in leuchtenden Schwarz-Weiß-Kleidern direkt im Bezirk standen. Die Erfahrung traf die Hauptfigur – diese beiden Personen waren Verstorbene, die sowohl mit einem angesehenen Angestellten als auch mit einem Wohltätigkeitsgründer verwandt waren, und sie warteten darauf, dass die Hauptfigur eine 4-jährige Tätigkeit bei der Unterstützung von Frauen beginnt, die Opfer von Menschenhandel waren. Die Hauptfigur erkannte, dass dies die Herausforderung war, die die ganze Zeit schließlich kam, und die Hauptfigur sah Hoffnung und Mitgefühl in den Augen dieser Frauen. Also verschwendete die Hauptfigur keine Zeit und legte los, während sie lokal gebrühten Kaffee aus einem nahe gelegenen Café genossen.
Dieses Stück hat ein Format von 4AABB4CCA4DD. Grundlage für dieses Stück waren Maurice Kirwins „African Pas“, Clarence Wileys „Carbarlick Acid“ und Bil Aka Kora, ein gebürtiger Burkina Faso. Darüber hinaus liefert auch der folgende bereitgestellte Artikel die Inspiration für diese Geschichte (https://theferret.scot/exposed-human-trafficking-sex-industry-burkina-faso/).
No.73 Abidjan: Ragtime for the Perspicacious Soul
Titel nach Uploader: Abidjan: Ragtime for the Perspicacious Soul, Op.2 No.73
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'0 |
Abidjan: Ragtime for the Perspicacious Soul, Op. 2 No. 73 marks the seventy‑third destination in the ongoing Ragtime at the Red-Light District series. This entry is set along Rue Princess, where curiosity, cultural immersion, and human connection converge in Côte d’Ivoire’s largest city.
The title’s adjective — perspicacious— carries its own quiet tribute. Written on June 10, shortly after the cancellation of the National Spelling Bee due to COVID‑19, the word serves as a nod to a lost tradition of linguistic celebration. Whether or not it ever appeared in competition, it embodies the spirit of the Bee: precision, challenge, and the joy of discovering language itself.
The narrative follows a 32‑year‑old traveler seeking knowledge, someone who has long relied on books and secondary sources to understand the world. Though well‑read, he feels unfulfilled — his learning confined to pages rather than lived experience. On a whim, he spins a globe and chooses a destination at random for a four‑month journey of genuine discovery: Côte d’Ivoire.
His first month begins in Abidjan, chosen alphabetically as the starting point. There, his hunger for understanding expands tenfold. He visits St. Paul’s Cathedral and the Abidjan Great Mosque, seeking insight into life’s deeper meaning. Outside religious study, the Pasteur Institute sparks scientific curiosity, while time spent in the Yopougon commune grounds him in the rhythms of everyday Ivorian life.
A cycling enthusiast, he joins a local race beginning at A. Ouattara Bridge and ending at Félix Houphouët‑Boigny Stadium, where the finish line sits at midfield rather than during a football match. Energized by the event, he continues his pursuit of knowledge with a walk to Rue Princess, where nightlife, music, celebration, and prostitution coexist openly. Rather than judge, he observes — believing that understanding a way of life requires presence, humility, and conversation.
He spends the evening enjoying local dishes, debating football legends with new acquaintances, and absorbing the vibrancy of Rue Princess without moralizing it. At sunrise, enriched rather than overwhelmed, he departs for the next destination in his four‑month journey.
Musically, the piece follows a 4AABBCCDEEC’ structure, with a 24‑bar C section and an eight‑bar E section. Its foundation blends Aaron Robinson’s “Artistic Rag” with Noukowaweli, an Ivorian folk dance the composer first discovered on YouTube — a fusion of American ragtime and West African rhythmic tradition that mirrors the protagonist’s own awakening to a wider world.
No.75 Linz: Ragtime for the Scintillescent Soul
Titel nach Uploader: Linz: Ragtime for the Scintillescent Soul, Op.2 No.75
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'7 |
Linz: Ragtime for the Scintillescent Soul, Op. 2 No. 75 marks the seventy‑fifth destination in the ongoing Ragtime at the Red-Light District series. This entry is set along Bäckermühlweg, where themes of illumination, renewal, and civic care converge with Linz’s industrial and artistic identity.
The narrative follows a 31‑year‑old amateur gas lamplighter, celebrated across municipalities within an 81‑mile radius for transforming an unusual vocation into a source of communal joy. His installations revive the rhythms of earlier decades: lamplights bright enough for children to play safely by day, yet signaling their return home when evening settles. Equipped with blue‑light sensors capable of deterring — and even permanently blinding — would‑be criminals, his work becomes both nostalgic and protective.
Word of his achievements spreads across Central Europe, prompting strangers to send requests directly to Linz. Inspired, he travels to the city to continue his craft — installing lamplights along Donaulände, demonstrating the underlying science at the University of Arts and Design Linz, and collaborating with architects designing a new fan‑zone outside Raiffeisen Arena. Even an experimental “floodlight” lamplight for Donauparkstadion is attempted before he politely withdraws from the proposal.
His journey culminates at Bäckermühlweg, where malfunctioning lights have contributed to rising disorder. There, his signature blue‑light lamplighting technology restores calm, offering workers a sense of safety and discouraging those who seek trouble. One resident is so moved that lodging is offered for the night — a gesture he declines, choosing instead to continue his quiet mission. Before departing, he purchases two dozen Linzer Torte to bring home, a final nod to the city whose spirit he helped rekindle.
Musically, the piece follows a 4AABBACC4ADD structure, with a 24‑bar C section. Its melodic and emotional foundation draws from Frédéric Chopin’s Étude Op. 10 No. 3 in E major and Pyotr Tchaikovsky’s “Solemn March” for the Coronation of Alexander III, blending introspective lyricism with ceremonial grandeur to reflect Linz’s scintillescent soul.
No.76 Hong Kong: Ragtime for the Ecclesiastical Soul
Titel nach Uploader: Hong Kong: Ragtime for the Ecclesiastical Soul, Op.2 No.76
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
Polytonalität |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'55 |
Hong Kong: Ragtime for the Ecclesiastical Soul, Op. 2 No. 76 marks the seventy‑sixth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Fuk Wa Street, where faith, compassion, and quiet courage converge in one of the world’s most electrifying cities.
The narrative follows a 31‑year‑old religious youth‑group advisor, a man who draws inspiration from Billy Graham and seeks to instill goodness in young adults navigating an increasingly divisive world. His ministry blends tradition and modernity: weekday adoration, Stations of the Cross, volunteer renovation projects, and heartfelt conversations in local bars. Through these activities, he teaches the values of hope, patience, and mercy.
His connections prove invaluable when he and his youth groups embark on a summer trip to Hong Kong. One member’s relatives in the banking sector arranged a private tour of the HSBC Building. Another’s distant cousins at Cathay Airlines grant behind‑the‑scenes access at Hong Kong International Airport. A third member’s brother, a marina operator and film enthusiast, guides them through Victoria Harbour and the Avenue of Stars. Twin step‑siblings who are expert taxi drivers — with city knowledge rivaling London cabbies — spend two days showcasing Hong Kong’s roads, even recreating routes from Agent Under Fire. The group also attends an international friendly at Hong Kong Stadium.
When the youth groups split up to explore further, the advisor seeks deeper inspiration and spends three days in the tenements of Fuk Wa Street. There, he notices several women dressed in ways that attract attention for the wrong reasons. He stands still for a moment, sensing a calling. Approaching gently, he assures them he means no harm — he carries only Bibles and a message of hope.
He shares verses from Romans 12:12 (“Rejoice in hope, be patient in tribulation, be constant in prayer”) and Lamentations 3:22–24 (“The steadfast love of the Lord never ceases… they are new every morning”). The women, initially fearful, are moved by his sincerity and begin sharing emotional stories of hardship, isolation, and longing for renewal.
He takes them out for a platonic evening: poultry dishes, rice, mango pudding, and Hong Kong‑style milk tea. They laugh over favorite martial‑arts films and heroes, finding comfort in simple companionship.
On his final day at the tenements, he prepares to reunite with his youth groups — but not without the five women he inspired. With help from the member connected to Cathay Airlines, they accompany him, knowing every minute matters. Their departure symbolizes a step toward hope, dignity, and a new beginning.
This piece follows a 4AABBCC4ADDE structure. The B section spans 24 bars, while the D section is an eight‑bar passage. The E section serves as a 16‑measure variant of the B material, respelled to reflect its altered character. The musical foundation draws from Michael Joncas’s Take and Eat and Bobby Fischer’s Eat This Bread, whose liturgical warmth and contemplative phrasing shape the ecclesiastical spirit of the melody.
No.74 Duisburg: Ragtime for the Loquacious Soul
Titel nach Uploader: Duisburg: Ragtime for the Loquacious Soul, Op.2 No.74
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
D-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'11 |
Duisburg: Ragtime for the Loquacious Soul, Op. 2 No. 74 marks the seventy‑fourth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Vulkanstraße, where verbosity, chaos, and unexpected harmony converge in the Ruhr region’s industrial port city.
The narrative follows a 30‑year‑old professional spokesperson, a man whose greatest passion — and greatest flaw — is talking incessantly. He speaks for hours about anything, whether logical or absurd: perfecting a pastrami‑and‑Swiss sandwich, designing booby traps to deter porch pirates, or explaining how being a gigolo might increase life expectancy. His monologues leave audiences intrigued but exhausted. One school district even issued a restraining order preventing him from speaking at elementary and high schools.
Yet one person appreciates his endless chatter: a train conductor who invites him on a full‑route vacation aboard the Chongqing–Xinjiang–Europe railway, ending in Duisburg. Throughout the journey, the spokesperson becomes the conductor’s personal narrator—even explaining how to use the bathroom. By the time they arrive, his mouth is sore, but his enthusiasm remains intact.
In Duisburg, he continues talking at every landmark: the Duisburg‑Hochfelder Eisenbahnbrücke, Hamborn Abbey, König Brewery, and even during a match at MSV‑Arena. His commentary on stadium food is so relentless that nearby patrons abandon their seats and spend the rest of the match loitering around concession stands just to escape his voice.
Eventually, he grows bored — a rare occurrence — and seeks something new. An advertisement for activities on Vulkanstraße catches his eye. But upon arrival, he finds not entertainment but conflict: three rival factions arguing and fighting.
True to his nature, he steps in and begins speaking ad libitum, delivering a spontaneous five‑minute speech inspired by The Simpsons’ “peach and chicken” monologue. He urges the factions to stop their petty squabbles and focus on something meaningful. He ends with:
“Spread the word, everyone: stuffed toys and children.”
The factions echo back: “Stuffed toys and children!”
A nearby worker joins in, explaining that children battling illnesses will attend a hockey match at PreZero Rheinlandhalle, and the toys would bring them joy. The factions disperse immediately to gather toys.
Impressed, the worker invites the spokesperson to spend time at the Laufhaus. For once, the spokesperson is speechless — especially after learning the worker was formerly an impotence spokesperson. They share pretzels and water until sunrise, enjoying a rare moment of quiet connection.
Musically, the piece follows a 4AABBCC4D4EEFFGG8 structure. The A section spans 24 bars, later respelled into three distinct eight‑bar partitions (E, F, and G). Its foundation blends George Botsford’s Chatterbox Rag with Charles Leslie Johnson’s “Powder Rag,” creating a lively, talkative rhythmic character that mirrors the protagonist’s loquacious spirit.
No.77 Kiel: Ragtime for the Mythical Soul
Titel nach Uploader: Kiel: Ragtime for the Mythical Soul, Op.2 No.77
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
g-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Sehr schwer |
Länge |
4'17 |
Kiel: Ragtime for the Mythical Soul, Op. 2 No. 77 marks the seventy‑seventh destination in the ongoing Ragtime at the Red-Light District series. This entry is set at Wall am Hafen, where maritime tradition, athletic excellence, and mythic resonance converge along the Baltic coast.
The narrative follows a 30‑year‑old graduate student and marina club president, a main character whose life is anchored to the water. The person spends nearly 300 days a year on rivers, lakes, and open seas — recruiting new boats to his marina, racing at prestigious regattas, and pursuing a Master’s degree in maritime history. The inspiration traces back to Switzerland’s stunning upset over New Zealand in the 2003 America’s Cup, a moment that shaped his devotion to competitive sailing.
When school is not in session, the main character uses the time to explore new waters. The individual sights turn to Kiel, where he hopes to compete in Kiel Week as a first‑tier participant. Before the event, he visits the Church of St. Nikolai, studies maritime heritage at the Schifffahrtsmuseum Kiel, and strolls through Holstenstraße. His vessel — sleek, modern, and meticulously crafted — earns admiration from fellow competitors, who call it “the modern jewel of the Baltic.” It carries him to victory in three contests, and soon he becomes an unofficial honorary citizen, celebrated even at a 2. Bundesliga match at Holstein‑Stadion.
The experience inspires him to consider establishing a new marina in Kiel, strengthened by ancestral ties to Germany. He spends an evening at Wall am Hafen, expecting nightlife but instead finding celebration. Workers in the district applaud his arrival, drawn not to fame but to the symbolism of his victories. Two women compare him to Perseus rescuing Andromeda — not literally, but figuratively, with the “Medusa’s head” representing the reigning champion he defeated, a man known for arrogance and chauvinism.
The protagonist senses that many of the women long to leave the industry. He spends the evening listening, encouraging, and offering a path forward. By morning, twelve women choose to follow him — seeking refuge, renewal, and a new life at his home marina, where water becomes not just a profession but a place of rebirth.
Musically, the piece follows a 4AABBACC4DDAEE structure, with an eight‑bar D section. Its foundation blends William Bolcom’s “Graceful Ghost Rag” with the hymn “O Come, O Come Emmanuel,” creating a fusion of nostalgic lyricism and sacred longing. The result mirrors the protagonist’s journey from competition to compassion, and from solitary mastery to shared renewal.
No.78 Zagreb: Ragtime for the Exhaustive Soul
Titel nach Uploader: Zagreb: Ragtime for the Exhaustive Soul, Op.2 No.78
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
As-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'55 |
Jahr der Komposition |
2021 |
Zagreb: Ragtime for the Exhaustive Soul, Op. 2 No. 78 marks the seventy‑eighth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Tkalčićeva Street, where culinary inspiration, burnout, and reinvention converge in Croatia’s capital.
The narrative follows a 33‑year‑old food‑court investor, a man devoted to bringing diverse regional cuisines into shopping centers and strip malls. His specialty lies in supporting local businesses — especially those rooted in Appalachia and the Piedmont — and he has successfully launched twelve such ventures. Each adheres to his strict policy: no national chains, only independent proprietors who can grow into second locations.
Recently, however, exhaustion has set in. Rogue investors and franchisees have attempted to bribe him with everything from luxurious waterfront properties to lifetime adult entertainment. He refused each offer, but the constant pressure left him drained. Seeking renewal, he travels abroad in search of a cuisine missing from his portfolio: Balkan food.
In Zagreb, he wastes no time. He samples licitar from a cart outside the Mimara Museum, kremšnita near St. Mark’s Church, and sarma from vendors inside the Croatian National Theatre. But it is at Maksimir Stadium — during a Europa League playoff match — that he experiences his eureka moment. There, he tastes zagrebački odrezak, a Croatian cordon bleu so exceptional that spectators tell him it can be found throughout the city, especially on Tkalčićeva Street.
Intrigued, he visits the street and discovers the dish’s origin: a woman‑owned business whose proprietor also works as an erotic dancer. Burnout has forced her to spend more time in her secondary profession, as customers hesitate to buy from her. Yet when he tastes her cordon bleu, he senses unmistakable passion — a culinary spark overshadowed by circumstance.
He proposes an idea: continue selling the signature dish, but transform the business into a family‑friendly restaurant that incorporates her dexterity and stage presence in a way reminiscent of hibachi‑style entertainment — an all‑women cast celebrating skill, movement, and cuisine without compromising dignity.
She smiles, moved by the possibility of reinvention. Over coffee and desserts at a nearby shop, they discuss plans for a new beginning. Six other women, weary of the erotic industry and eager for change, join the conversation. Together, they envision a restaurant that blends culinary excellence with creative performance — a place where passion can thrive without exhaustion.
Musically, the piece follows a 4AABBCCA4DDB structure. Its foundation blends Arthur Honegger’s Toccata & Variations with Marcelle Meyer’s celebrated rendition of François Couperin’s Les Barricades Mystérieuses, creating a fusion of modern rhythmic drive and Baroque elegance — mirroring the protagonist’s journey from fatigue to revitalized purpose.
No.79 Angers: Ragtime for the Transient Soul
Titel nach Uploader: Angers: Ragtime for the Transient Soul, Op.2 No.79
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
G-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'38 |
Jahr der Komposition |
2021 |
Angers: Ragtime for the Transient Soul, Op. 2 No. 79 marks the seventy‑ninth destination in the ongoing Ragtime at the Red-Light District series. This entry is set at Place Pierre Semard, where reconciliation, familial tension, and human vulnerability converge in one of western France’s most historic cities.
The narrative follows a 29‑year‑old professional apologizer, a man whose unusual occupation keeps him constantly on the move — rarely more than three or four days in any one place. His work ranges from the earnest to the absurd: undergraduates and graduate students hire him as a “wingman” to break the news of academic failure to their families, while men enlist him to salvage marital disputes, convinced he is a cheaper alternative to counseling. Not all wives agree; one famously responds by macing him on the spot.
Seeking respite, he chooses Angers for a brief excursion — drawn humorously by the city’s name, expecting anger but finding something far gentler. Yet even upon arrival, his reputation precedes him. Residents outside Angers Castle demand help with marital crises. Tourists along the A11 ask him to settle debates about dangerous roads. Professional coxswains seek advice on optimal nutrition for elite athletes. And at Stade Raymond Kopa, an unlucky lover attempts to recruit him for a jumbotron apology.
Overwhelmed, he escapes to Place Pierre Semard, hoping for anonymity. Instead, he finds a gathering far larger and more emotionally complex than expected: two widowers, three widows, two married couples, two divorced couples, sixteen grandparents, and even a pair of great‑grandparents — some related, all seeking to reconcile with daughters who fled to the district amid bankruptcy, debt disputes, and misguided trust in loan sharks.
One by one, he listens. With patience and dedication, he tracks down all twelve women, facilitates conversations between estranged families, and guides each side toward understanding. By evening’s end, every rift has softened. The group celebrates with a royal dinner, united — unexpectedly but unanimously — by the simplest of foods: baguettes. With his work complete, the apologizer departs quietly for his next destination.
Musically, the piece follows a 4AABBBACC8A4 structure, with a 12‑bar B section and a 20‑bar C section. Its foundation draws from George Botsford’s “Old Crow Rag” and William Pierson’s “Rag‑a‑Muffin Rag,” both discovered through YouTube — a pairing of early ragtime charm and playful rhythmic grit that mirrors the protagonist’s chaotic yet heartfelt journey through Angers.
No.80 Bochum: Ragtime for the Swanky Soul
Titel nach Uploader: Bochum: Ragtime for the Swanky Soul, Op.2 No.80
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
Es-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'0 |
Jahr der Komposition |
2021 |
Bochum: Ragtime for the Swanky Soul, Op. 2 No. 80 marks the eightieth destination in the ongoing Ragtime at the Red-Light District series. This entry is set at Im Winkel, where culinary excess, unexpected generosity, and human warmth converge in the Ruhr region’s industrial heart.
The narrative follows a 33‑year‑old delicatessen entrepreneur, renowned for perfecting cold cuts and cheeses — and notorious for encasing them in precious metals. His signature products, inspired by Catherine de’ Medici, include prosciuttini, cracked‑pepper turkey, and Havarti cheese wrapped in gold, silver, or bronze. His most extravagant creations are platinum‑encased baguette sandwiches — BLTs, five‑ham combinations, and other indulgences — each costing at least $500. Despite the prices, patrons who can afford them praise the purity, craftsmanship, and absence of additives.
One admirer, a prominent food critic, invites him to Bochum to test whether his upscale sandwiches can win over a new audience. They do. Whether serving twenty‑somethings outside Bermudadreieck, late‑night patrons from Altes Brauhaus Rietkötter, or crowds attending Bochum kulinarisch, he consistently satisfies those with disposable income. His success earns him a showcase at Ruhrstadion, where he unveils a daring new creation: a sandwich combining six bratwurst varieties with mustard and shredded Muenster cheese. It becomes an instant hit.
Yet the experience changes him. As much as he values quality, he realizes that only the wealthy have been able to enjoy his food — a truth that unsettles him. Determined to do better, he approaches Im Winkel with a new idea. At a nearby do‑it‑yourself sandwich shop, he spends two hours crafting five platters of sandwiches using simple, affordable ingredients — still high‑quality, but accessible.
Passing through Im Winkel, he notices sadness on the faces of several workers. With permission, he offers the food. Through patience and sincerity, he convinces 36 women to join him for a modest dinner. Their reaction astonishes him: they say the food “tastes like love,” something many of them have not felt in years. By midnight, enough remains for all 36 to have meals for the next three days.
He departs with a lesson that reshapes his craft: not all products need glitter to shine— sometimes the food itself speaks more beautifully than any precious metal.
Musically, the piece follows a 4AABBCC4AA4DD structure. Its foundation blends Musical Zig Zags by O. Goehner with Osip Kozlovsky’s Polonaise in C minor, creating a fusion of playful ragtime motion and stately classical elegance. The result mirrors the protagonist’s journey from opulence to authenticity.
No.81 Athens: Ragtime for the Undulating Soul
Titel nach Uploader: Athens: Ragtime for the Undulating Soul, Op.2 No.81
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
fis-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'43 |
Jahr der Komposition |
2021 |
Athens: Ragtime for the Undulating Soul, Op. 2 No. 81 marks the eighty‑first destination in the ongoing Ragtime at the Red-Light District series. This entry is set along Fylis Street, where athletic excellence, renewal, and human aspiration converge in one of the world’s most storied cities.
The narrative follows a 27‑year‑old indoor and outdoor tetradecathlete, an individual whose life is defined by relentless motion. The person trains eight hours a day, six days a week across open tracks, parks, and fields, and spends an additional four hours a day, five times a week, in collegiate gymnasiums. The discipline is legendary — so much so that observers say the person “flows like the waves of the Peloponnese.”
The achievements in Athens demand ingenuity. With traditional tracks unavailable, the main character adapts her training across the city: field events at Athens University, sprints along the A1 and A8 highways, and strength work outside the National Bank of Greece, all culminating in pre‑event prayers at the Cathedral of Athens. These efforts lead to two monumental competitions: a new tetradecathlon at Kallimarmaro, followed nine days later by another at the Olympic Stadium of Athens. The individual not only wins both, sweeping all fourteen events each time.
Exhausted yet triumphant, the main character brings the closest supporters to Fylis Street. Their purpose is not nightlife, but inspiration: to show workers in the district that dormant dreams can still be revived. Two women, former collegiate modern pentathletes, confess that they never fulfilled their athletic potential. The tetradecathlete hands one a javelin and the other a discus. On their first attempts, both throw with such elegance and force that nearby trainers remark they too “dance like the waves of the Peloponnese.”
The moment becomes a turning point. The two women share souvlaki and moussaka with the group before joining them — six strong — to begin rekindling a lost art and reclaiming the athletic futures they once abandoned.
Musically, the piece follows a 4AABBCC4BA’ structure. The A section spans 24 bars, while the second A section mirrors the first but shifts from F‑sharp minor to F‑sharp major, reflecting transformation and triumph. Its foundation blends George Botsford’s “Chatterbox Rag” with Ludwig van Beethoven’s Turkish March from The Ruins of Athens — a fusion of ragtime vivacity and classical ceremonial energy befitting a protagonist who embodies both discipline and radiance.
No.82 Deinze: Ragtime for the Haunting Soul
Titel nach Uploader: Deinze: Ragtime for the Haunting Soul, Op.2 No.82
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
c-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'55 |
Jahr der Komposition |
2021 |
Deinze: Ragtime for the Haunting Soul, Op. 2 No. 82 marks the eighty‑second destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Kortrijksesteenweg, where moral reckoning, haunting visions, and unexpected redemption converge in East Flanders.
The narrative follows a 32‑year‑old apartment‑complex investor, an individual whose vast portfolio spans 81 properties across multiple countries. His clientele, however, consists almost entirely of high‑risk tenants with questionable ethics. Among them are septuagenarian gigolos occupying units in every building; twenty‑somethings converting three‑bedroom apartments into phone‑jamming labs; three elite college graduates hosting a notorious swinger party dubbed the “Orgy of the Adirondacks”; individuals running 24‑hour adult‑entertainment penthouses culminating in the infamous “Bacchanalia Beyond the Bosporus”; and even a billionaire who rents a ten‑story waterfront complex for his 64 children and the 24 women who mothered them — all to maintain his self‑proclaimed “responsible fatherhood.”
Thirteen concerned tenants, overwhelmed by the chaos, stage an intervention. They purchase a one‑way ticket to Belgium for the investor and send him off with an unidentified escort, hoping distance will clear his head. Their journey becomes a moral pilgrimage:
• de parochiekerk Sint Petrus en Paulus — a prayer for his soul
• Filliers Grain Distillery — a lesson in responsibility and accountability
• Ooidonk Castle — a reminder that housing should uplift communities, not enable decadence
The most haunting stop is an empty Van de Wielstadion, where they meet a psychic and a magician. Together, they stage a Dickensian revelation of past, present, and future — not a grave, but a prison cell reminiscent of Black Dolphin and ADX Florence. The message is clear: failure to repent will result in an empire collapsing under the weight of its own immorality.
Shaken, the main character is brought to Kortrijksesteenweg, where everything changes. Instead of wild nightlife, he sees workers living humble, dignified lives:
• one running a daycare to protect children from harmful influences
• another helping her eight‑year‑old son with Dutch vocabulary
• another learning to bake cookies
Even patrons contribute: two bring groceries for a worker’s parents, and another donates gently used calculus books for her undergraduate studies.
Overwhelmed, the investor falls to his knees and cries. The escort reveals their identity: a protégé of the women’s‑rights activist from Lille, sent to guide him toward change. The psychic then delivers a final revelation — numerous one‑bedroom units at one of the properties near Conshohocken, Pennsylvania, have opened due to evictions. These units could become lifelines for the workers he has just met.
Fourteen women agree to relocate, including all those mentioned. The group shares pastries and begins the paperwork, marking the investor’s first step toward a new purpose: using his wealth to uplift rather than exploit.
Musically, the piece follows a 4AABBACC4DDEA structure. Its primary influence is Glinka’s Mazurka in C Minor, a melody the composer once studied privately. Secondary inspiration comes from Chopin’s “Revolutionary” Étude, echoing earlier ties to Lille, and a tertiary thread from Scott Joplin’s “Peacherine Rag”, blending Slavic melancholy, Romantic urgency, and ragtime vitality — mirroring the protagonist’s haunting yet transformative journey.
No.83 Seraing: Ragtime for the Translucent Soul
Titel nach Uploader: Seraing: Ragtime for the Translucent Soul, Op.2 No.83
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'0 |
Jahr der Komposition |
2021 |
Seraing: Ragtime for the Translucent Soul, Op. 2 No. 83 marks the eighty‑third destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Rue Marnix, where athletic brilliance, moral testing, and unexpected humility converge in Belgium’s Liège province.
The narrative follows a 30‑year‑old parkour and ultimate‑tag athlete, a man whose extraordinary agility stems from a family lineage of unconventional escape artists — great‑grandparents who once evaded white‑collar investigations by leaping through playground equipment. Determined to channel this inherited gift into something meaningful, he trains relentlessly. Over twelve years, he amasses fourteen world records, fueled by a punishing regimen of five training days per week, including sixteen‑hour nonstop sessions.
Outside competition, he volunteers in police training, where his jukes are so sharp that four trainees suffer torn ankles and ACLs. One lieutenant nicknames him the “Nasty Northern Ninja.” Feeling guilty for the injuries, he seeks distance — and a promotional postcard from Belgian Tourism advertising an ultimate‑tag event in Seraing becomes his escape. He arrives in Belgium and begins a rigorous warm‑up: practice runs along the Meuse River, an exhibition inside Château Cockerill, and prayer and meditation at the Abbey of Val‑Saint‑Lambert. The main event unfolds at Stade du Pairay — a four‑day ultimate‑tag tournament televised in 182 countries, including the United States on ESPN 8.
Among 120 athletes, all aged thirty, he dominates the field. He uses every inch of the stadium to showcase his talent, inadvertently causing twelve more athletes to suffer leg injuries, including one with simultaneous ACL tears. His evasive maneuvers are so spectacular that he jukes cameramen, leaving commentators screaming in disbelief. In the open‑field phase, he evades police officers and stadium security with ease. Twice, his pursuers collide with each other. Two notorious pitch invaders in attendance are so impressed that they renounce pitch invasions permanently.
He wins a two‑year supply of free food, which he quietly donates to low‑income families across the Benelux region. Then he heads to Rue Marnix, where word of his victory has already spread. There, he encounters an infamous trash‑talking patron known for demeaning everyone — including workers. The patron challenges him: complete a parkour course involving makeshift obstacles and live animals, or never set foot in Europe again. He accepts immediately. His performance is so decisive that the patron, refusing to accept defeat, attempts to chase him in an impromptu ultimate‑tag rematch. On the first move, the patron slips, and a piece of paper falls out — revealing that the makeshift course was built from stolen equipment taken from businesses, individuals, and workers.
Police officers — including those from the stadium — arrest the patron. The athlete receives a standing ovation. A worker expresses her gratitude by leaning in as if to embrace him, but he gently opts for a handshake instead. Still impressed by her sincerity, he invites her for pastries and coffee before departing the next morning for the Ardennes.
Musically, the piece follows a 4AABB4CC4AADD structure. Its primary influence is Moritz Moszkowski’s Spanish Dances Nos. 1 and 2, first encountered through John Schaum piano books in private school and later expanded through modern recordings. Their rhythmic vitality and Iberian flair mirror the protagonist’s translucent blend of speed, grace, and moral clarity.
No.84 Limoges: Ragtime for the Percocious Soul
Titel nach Uploader: Limoges: Ragtime for the Precocious Soul, Op.2 No.84
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
e-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'55 |
Jahr der Komposition |
2022 |
Limoges: Ragtime for the Precocious Soul, Op. 2 No. 84 marks the eighty‑fourth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds at Champ de Juillet, where precocious intellect, forensic instinct, and unexpected human connection converge in the heart of Haute‑Vienne.
The narrative follows a 28‑year‑old forensic financial accountant, a prodigy shaped by a lineage of forensic scientists and auditors. His gifts emerged early:
• At 14, he helped his CPA aunt uncover a bribery scheme affecting six unincorporated Iowa communities.
• At 18, he assisted his forensic‑scientist sister (older by 17 years) in solving a 58‑year‑old cold case, leading to the arrest of three nonagenarians.
• At 20, he contributed to the arrest of a mayor, deputy mayor, and nineteen others in a kickback scandal dubbed the “Bridgegate of Charlotte.”
Even on vacation, his family rarely relaxes — and neither does he. In Limoges, his father helps police apprehend a vendor selling fake porcelain at the Church of St. Pierre du Queyroix. His twin daughters‑in‑law expose a mayoral candidate accepting bribes outside Hôtel de Ville. His niece and nephew use deductive reasoning to help arrest a money‑launderer inside Jardin botanique de l’Évêché. The protagonist contributes his own discovery at Stade Saint‑Lazare during an exhibition match: stadium vendors are selling food at six times face value to offset gambling losses. He alerts authorities, who intervene immediately.
Seeking a moment of calm, he walks to Champ de Juillet, though his instincts remain sharp. A particular house catches his attention — its resident notorious for global financial misconduct. The resident taunts him, unaware of the accountant’s photographic memory, inherited not only from family but sharpened by strange apparitions and flashbacks reminiscent of the movie Phenomenon. The accountant fires back with forensic precision:
• 1,634 branches used in a micro‑structuring scheme
• 371 money mules and smurfs recruited
• Six individuals traveling 370 miles via buses and trams
• Five people conducting up to 19 transactions of exactly $153 to avoid detection
A nearby table of six undercover officers, posing as regular patrons, overhears the exchange. One notes a peculiar detail: the criminal always pays exactly $8,208, a narcissistic number. This confirms their suspicions. They move in and arrest him on the spot. The accountant receives cheers and congratulations. A worker approaches, explaining that she has long underreported her income due to bad advice from the criminal and his cronies. She fears repercussions. He reassures her gently — his focus is on criminal intent, not innocent mistakes. They share a simple lamb dinner, and he suggests she meet with his twin half‑siblings, both CPAs, who can mentor her and help her rebuild her financial footing. She agrees, grateful for guidance as he prepares to depart.
Musically, the piece follows a 4AABBCC4AADDB’B structure. The A section is written in an A‑minor pentatonic (A–C–D–E–G), and the D section spans eight bars. Its primary influence is Mussorgsky’s Limoges: The Market and Tuileries (Children’s Quarrel) from Pictures at an Exhibition, whose bustling textures and playful quarrels mirror the protagonist’s precocious acuity. A secondary thread of rhythmic clarity ties the piece to the protagonist’s forensic precision.
No.85 Hannover: Ragtime for the Exploratory Soul
Titel nach Uploader: Hannover: Ragtime for the Exploratory Soul, Op.2 No.85
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
f-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Sehr schwer |
Länge |
4'17 |
Jahr der Komposition |
2022 |
Hanover: Ragtime for the Exploratory Soul, Op. 2 No. 85 marks the eighty‑fifth destination in the ongoing Ragtime at the Red-Light District series. This entry is set along Reitwallstraße, where logic, intuition, and unexpected courage converge in one of Lower Saxony’s most dynamic cities.
The narrative follows a 30‑year‑old mathematics graduate student, a man who has loved numbers his entire life — graduating from undergraduate studies in three years and becoming valedictorian through sheer methodological rigor. Yet his precision often alienates others. What should take five minutes to explain becomes a labyrinth of formulas, leaving one in six children bored or disengaged. Adults fare no better; in casual conversations about sports, games, or even relationships, he reduces everything to statistics. One acquaintance jokes that he “makes everything sound like baseball.”
Concerned for his well‑being, a friend buys him tickets for a trip abroad — to Hanover, Germany — hoping he will finally enjoy something beyond numbers. To his surprise, he does. He visits the Telemax Tower, strolls through the Eilenriede, and admires the Gehry Tower, all without relying on textbooks. His most unexpected moment arrives at a 2. Bundesliga match at Niedersachsenstadion, where a charity event precedes kickoff: stuffed toys are thrown to children battling illness, and spectators are invited to guess the total number.
He calculates quickly — 1,089 toys — and wins season tickets to the reserve team. For the first time, his mathematical gift brings joy rather than frustration.
Carrying two grapefruit halves and an apple, he walks toward Reitwallstraße, where he witnesses a notorious loan shark harassing a patron. Police are nearby, but the loan shark flees — directly toward him. In that instant, something awakens in the mathematician: a hunch, something no textbook ever taught. He estimates the distance, velocity, and angle, then hurls the apple sideways, striking the loan shark. When the aggressor charges again, he blinds him with the two grapefruit halves, allowing police to make the arrest.
The patron approaches, revealing a hidden truth: she is an undercover investigator infiltrating a brothel — and a former high‑school classmate who also loved mathematics. She tells him this is the first time she has seen him step outside the comfort zone of numbers and apply math to life itself. Moved, he spends the evening with her, and they decide to continue their time together, with their next stop being the Royal Gardens of Herrenhausen.
Musically, the piece follows a 4AABBACC4DDA’B’B’ structure, with respellings and variations shifting from F minor in the first pass to B‑flat minor later. Its foundation blends Fred Stone’s “The Bos’n Rag” with H. D. Carter’s “Halifax Rag,” creating a lively interplay of maritime swagger and crisp rhythmic clarity — mirroring the protagonist’s journey from rigid calculation to intuitive bravery.
No.86 Ulm: Ragtime for the Casual Soul
Titel nach Uploader: Ulm: Ragtime for the Casual Soul, Op.2 No.86
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
fis-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'16 |
Jahr der Komposition |
2022 |
Ulm: Ragtime for the Casual Soul, Op. 2 No. 86 marks the eighty‑sixth destination in the ongoing Ragtime at the Red-Light District series. This entry is set along Blaubeurer Straße, where casual wealth, architectural inspiration, and unexpected mentorship converge in one of Baden‑Württemberg’s most innovative cities.
The narrative follows a 28‑year‑old accredited investor, a protagonist whose fortune stems from a combination of per stirpes and per capita inheritances from six relatives, supplemented by wise investments passed down from great‑grandparents. The wealth allows the protagonist to spend all but 1/25 of it casually on properties — yet consistently earns quintuple returns. The portfolio includes multi‑family duplexes, acres reclaimed from liens and encumbrances, abandoned restaurants, and even cargo containers and decommissioned train cars converted into housing units and mobile centers, both underground and above ground.
With the remaining 1/25 of his wealth, the protagonist embarks on a European vacation from Paris to Budapest, including a stop in Ulm. There, the main character studies the city’s architecture for inspiration: the historic Rathaus, the contemporary Stadtbibliothek, the elegant designs of Ulm’s tram lines, and the solar‑powered passive houses of Science City. His imagination expands further during a 2. Bundesliga match at Donaustadion, envisioning new stadium designs using cargo containers — inspired by both Donaustadion and Stadium 974 in Doha.
Seeking a more relaxed moment, the main character walks to Blaubeurer Straße, where patrons and visitors enjoy the casual rhythm of the district. Yet something feels off. He notices a trio of triplet workers — known locally as the “underappreciated ladies of the Blau Stream.” Despite having inherited sizable wealth from parents and grandparents, they struggle financially due to inconsistent income tied to questionable adult activities, preventing them from pursuing their dream of becoming investors.
The main character listens without judgment as the trio opens up about their aspirations, and the protagonist offers to mentor them — helping them “get their feet wet” in the investing world. The main character even offers to give them a stake in his cargo‑container ventures, providing a foundation for their future. They spend the evening sharing pretzels, bratwurst, and Riesling wine, and by night’s end, the trio smiles with renewed hope. He hands them tickets to Ulm Hauptbahnhof, inviting them to join his journey toward Budapest and toward the lives they once thought unreachable.
Musically, the piece follows a 4AABB4CC4ADD structure, with a 20‑bar A section and a 24‑bar D section. Its foundation blends Sergei Lyapunov’s Rhapsody on Ukrainian Themes with Winifred Atwell’s “Coronation Rag,” creating a fusion of Slavic lyricism and British celebratory ragtime — mirroring the protagonist’s journey from casual wealth to meaningful mentorship.
No.87 Rouen: Ragtime for the Searching Soul
Titel nach Uploader: Rouen: Ragtime for the Searching Soul, Op.2 No.87
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
F-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
4'0 |
Jahr der Komposition |
2023 |
Rouen: Ragtime for the Searching Soul, Op. 2 No. 87 marks the eighty‑seventh destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Boulevard des Belges, where intervention, redemption, and emotional searching converge in Normandy’s historic capital.
The narrative follows a 30‑year‑old intervention specialist, third in his graduating class in both high school and college. His work spans six apartment complexes, where he has guided countless residents toward better lives. His interventions range from drug and alcohol recovery to marital reconciliation, lifestyle reform, and even workplace transformation — including convincing a sandwich‑shop franchisee to adopt European labor standards to avoid American regulatory violations.
One success story stands out: a man who, after years of neglecting his family, rebuilt his life through the specialist’s guidance. Empowered, he asks for help finding his estranged niece overseas — hoping to save her soul just as his own had been saved.
Their search leads to Rouen, and the journey becomes a spiritual pilgrimage. They visit the Church of St. Joan of Arc, the Church of Saint‑Maclou, and the Abbaye Saint‑Ouen de Rouen, praying for direction. Yet their mission is constantly interrupted by people sneaking small bottles of alcohol outside the churches, prompting impromptu interventions.
To reconnect with the niece’s past, they turn to soccer — a passion she once shared with her uncle. They attend a match at Stade Robert‑Diochon, home of Quevilly‑Rouen, whose historic 2012 Coupe de France run had bonded the family years earlier. The specialist keeps the saved man sober and grounded throughout the game.
After the match, they search for a hotel near Boulevard des Belges. As dusk settles, the saved man spots his niece — surrounded by shady patrons and a notorious criminal. When she is briefly alone, they approach.
The niece reveals a troubled life: a series of destructive choices after college involving drugs, alcohol, and promiscuity. For an hour, the specialist leads an intervention, reminding her of her past achievements — including graduating at the top of her class — and showing how her uncle reclaimed his own life. Slowly, she begins to soften, recognizing the possibility of change.
Still fearful of the criminal influences around her, she agrees to leave. The three rush to a nearby shelter, seeking safety and a chance for rebirth. At dawn, they walk toward the River Seine, where the specialist meets a childhood friend — the religious activist and lay minister from Ouagadougou, who arrives to escort the niece out of town and help her begin anew.
Musically, the piece follows a 4AABBCC4ADDB’B’ structure, with an eight‑bar D section. Its primary influence is George Botsford’s “Texas Steer Rag”, whose lively frontier swagger mirrors the protagonist’s blend of discipline, urgency, and heartfelt searching. The narrative also draws contextual inspiration from reporting on Rouen’s changing red‑light district, grounding the story in real social challenges.
No.88 Bon: Ragtime for the Attentive Soul
Titel nach Uploader: Bonn: Ragtime for the Attentive Soul, Op.2 No.88
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
As-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'11 |
Jahr der Komposition |
2023 |
Bonn: Ragtime for the Attentive Soul, Op. 2 No. 88 marks the eighty‑eighth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Immenburgstraße, where attentiveness, self‑reflection, and gentle course‑correction converge in the birthplace of Beethoven.
The narrative follows a 33‑year‑old food‑cart and food‑truck entrepreneur, a man whose business model is as demanding as it is controversial. The main character's carts and trucks impose strict rules, most of which are inconsistent, that includes: two‑purchase minimums, like that seen at comedy clubs; mandatory $100 purchases at adjacent stores "“party‑of‑two” minimum service to prevent overindulgence; one that even goes far as a hot‑dog cart refusing to serve minors until age 21; one truck that even every customer to avoid serving anyone on sanctions lists or OFAC restrictions
These policies, intended as safeguards, instead spark frustration. The hometown mayor finally bans him from operating and encourages citizens to send him away. One citizen — a longtime friend who knows his love of music — suggests Bonn, birthplace of Beethoven, and personally escorts the main character there to help him break free from his rigid habits.
The trip is all‑expenses‑paid, designed to soften his compulsive attentiveness. They begin with prayer at Bonn Minster, followed by a stop at the Beethoven Monument. A concert at Beethovenhalle rekindles his appreciation for nuance. A day at the Bundeskanzlerhalle expands his perspective. A tasting tour at Haribo’s confectionery plant reminds him of simple joys. But the turning point arrives at Sportpark Nord, during a Sunday‑league match. Watching the food carts operate with balance — attentive yet welcoming — he realizes how far he has drifted from the spirit of hospitality.
Later, the supporter brings him to Immenburgstraße, not for nightlife but to reconnect him with two people central to his childhood: descendants of Therese Malfatti and Elisabeth Röckel, figures tied to Beethoven’s Für Elise. The four had once been inseparable through college, but when he entered the food‑industry, his demeanor hardened while theirs remained compassionate. Now single mothers working in an unforgiving industry, they greet him warmly. Their resilience and kindness make him confront the truth: his attentiveness has become compulsive, even alienating. He needs to tone it down — not abandon care, but refine it. The group shares appetizers and drinks at a nearby bar, rekindling old bonds. At dawn, the entrepreneur and his supporter depart from Bonn Hauptbahnhof, carrying a renewed sense of balance and a gentler approach to his craft.
Musically, the piece follows a 4AABB4CC4ADDAA structure, with a 20‑bar C section and an eight‑bar D section. Its primary inspirations are Percy Wenrich’s “A Southern Symphony” and Chopin’s Nocturne in C‑sharp minor (Op. posth.), whose blend of lyrical attentiveness and introspective melancholy mirrors the protagonist’s journey. A later dedication honors Beethoven, reflecting Bonn’s enduring musical legacy.
No.89 Phuket: Ragtime for the Appreciative Soul
Titel nach Uploader: Phuket: Ragtime for the Appreciative Soul, Op. 2 No. 89
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'55 |
Phuket: Ragtime for the Appreciative Soul, Op. 2 No. 89 marks the eighty‑ninth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Soi Bang‑La and Patong Beach, where architectural imagination, gratitude, and quiet tribute converge on Thailand’s Andaman coast.
It is worth noting that the melody started on January 10, 2020, and finished on February 20, 2020, but was originally intended as a separate rag for a new series. However, on May 16, 2023, Phuket would join the pilgrimage
The narrative follows a 29‑year‑old architecture graduate student, descended from a Las Vegas family specializing in residential and commercial design. Though shaped by desert skylines, he has long been fascinated by maritime architecture — and dreams of integrating both worlds. Over eight years, he amasses a portfolio of 35 beachfront condominiums and four‑story coastal complexes along the Eastern Seaboard, each built with strict requirements:
• tetrapods for storm resistance
• non‑wood materials to withstand hurricanes
• bitumen emulsion, inspired by German road engineering, to endure blizzards and coastal erosion
Seeking new ideas, he saves diligently and plans a trip to Southeast Asia. His intended flight from Las Vegas to Mumbai includes a layover in Phuket, but the final leg is cancelled. Rather than despair, he embraces the opportunity.
He begins at Phuket International Airport, studying its structural flow, then visits the Aikwanich Mansion, the Phuket Post Office, and the songthaews along Patak Road. But inspiration strikes at Surakul Stadium during an exhibition match. Watching the crowd, he wonders:
What if a stadium could expand, transform, and withstand even tsunamis?
He rents a songthaew to Patong Beach, where nightlife pulses through Soi Bang‑La. Instead of indulging, he rents a modest room and begins drafting blueprints. His concept blends:
• his hurricane‑resistant portfolio standards
• Japanese skyscraper‑dismantling techniques (silent, controlled, non‑explosive)
• movable pitches like Madrid’s Bernabéu, convertible for tennis or basketball
• cargo‑crate modules inspired by Doha’s Stadium 974, supplementing tetrapods for tsunami resilience
As he sketches in a hotel lobby, two workers approach, curious why he ignores the district’s nightlife. He explains his goal: to create an architectural opportunity that would benefit Phuket itself.
The workers, both former architecture students who entered the red‑light industry due to circumstance, are moved. The hotel manager, overhearing, praises the ingenuity and offers to take them all out for an evening of delicacies — O‑aew, Kanohm Jim, and Ang ku kueh. Before leaving, the manager provides guidance on how to pitch the stadium proposal to Phuket’s city council.
The night becomes one of appreciation — for ideas, for resilience, and for the people of Phuket.
This entry also serves as a silent tribute to the victims of the 2004 Indian Ocean Tsunami, and honors Tilly Smith, the 10‑year‑old whose quick thinking saved over 100 lives.
Musically, the piece follows a 4AABBCC4ADD structure, with a 24‑bar C section. Its inspirations include Es ist ein Ros entsprungen, Karol Namysłowski’s Clarinet Polka, and Frank French’s “Belle of Louisville”, blending sacred warmth, folk brightness, and riverboat ragtime charm — mirroring the protagonist’s journey from architectural ambition to heartfelt appreciation.
No.90 The Jersey City Rag: Ragtime for the Heroic Citizens
Titel nach Uploader: Nantes: Ragtime for the Heroic Soul, Op.2 No.90
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
b-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'0 |
Nantes: Ragtime for the Heroic Soul, Op. 2 No. 90 marks the ninetieth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Rue du Strasbourg, where duty, instinct, and quiet integrity converge in western France’s historic port city.
The narrative follows a 31‑year‑old police officer, a man who serves his northeastern U.S. community with unwavering devotion. His responsibilities extend far beyond patrol: school security, undercover operations to intercept drug traffickers, and countless acts of protection carried out for the sake of those he loves — his wife, three children, and a family lineage rooted in law enforcement and military service.
Every eighteen months, the extended family travels together, each member pursuing what speaks to them. The idea of Nantes emerges from the grandparents’ love of France and sports, dating back to Euro 1984 at Stade de la Beaujoire. Sixteen relatives split into five excursions:
• his wife, both mothers, and three sisters embark on a shopping spree at Atlantis in Saint‑Herblain
• his wife’s brother and grandfather follow a World War II trail — honoring “the 50 hostages” of 1941, visiting homes tied to the 1943 air raids, exploring the Machines of the Isle, and ending in Saint‑Nazaire, inspired by Medal of Honor: European Assault
• both fathers, each pursuing doctorates in history, study the Loire River’s role in the Atlantic slave trade
• the grandparents take the officer’s children to their first soccer match at Stade de la Beaujoire
Only the officer travels alone — and feels an inexplicable nervousness, as though something is calling him. Nantes has seen police protests before, and he is unsure what awaits him on Rue du Strasbourg.
Upon arrival, he witnesses a skirmish between police officers and three criminals known for preying on vulnerable people, especially workers. Two are quickly apprehended; the third flees. Instinct takes over. He sprints after the criminal, knowing hesitation could mean failure — yet also aware that excessive force could worsen public distrust. He lunges, not to tackle, but to intercept with minimal harm. The officers catch up and arrest the criminal.
After catching his breath, he continues down Rue du Strasbourg. He is not seeking indulgence — only to observe, to ensure safety, and to honor the quiet dignity of the district. When a worker approaches, hoping for adventure, he gently declines and shows her a photo of his wife and children. It is his way of expressing gratitude, grounding himself in the purpose behind his service.
He finds a nearby hotel and rests, preparing to depart at dawn by tram and train toward Saint‑Nazaire, where his family awaits.
This entry first began on February 29, 2020, intended as part of a separate collection. It later joined Ragtime at the Red-Light District on May 16, 2023, as No. 90. The “Heroic” designation and the police‑officer protagonist honor a Jersey City officer killed on December 10, 2019, and by extension, all fallen officers and frontline protectors.
Musically, the piece follows a 4AABB4CC4ADD structure, with a 24‑bar C section. Its primary inspiration is Burgmüller’s “Little Party” from Progressive Pieces, with secondary influences from Arabesque and Ballade in the same collection — works whose clarity, charm, and disciplined lyricism mirror the protagonist’s quiet heroism.
No.91 San Nicolaas: Ragtime for the Inviting Soul
Titel nach Uploader: San Nicolaas: Ragtime for the Inviting Soul, Op.2 No.91
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'49 |
Jahr der Komposition |
2023 |
San Nicolaas: Ragtime for the Inviting Soul, Op. 2 No. 91 marks the ninety‑first destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds in San Nicolaas, where humanitarian housing, quiet courage, and unexpected community converge on Aruba’s southern coast.
The narrative follows a 33‑year‑old housing flipper, a man known for transforming unconventional materials into dignified living spaces. His portfolio blends brutalist‑style residential buildings disguised as colorful nurseries, classrooms, and sleeping quarters, alongside two‑story duplexes constructed from disused train cars and bamboo. These homes serve families, individuals living alone, and elderly residents in remote corners of the world.
His devotion to repurposing train cars stems from personal history: he survived three years of homelessness and vowed that no train car should ever rust away on the ocean floor when it could shelter someone in need.
Seeking to design a new Caribbean housing complex, he travels to Aruba. Inspiration comes quickly — from the Model Trains Museum, the Water Tower, and the Sunrise Solar Park. His concept emerges: a four‑story complex topped with a water‑tower replica honoring local history, powered by solar energy to ensure eco‑friendly resilience.
With no soccer venues to visit, he heads toward Charlie’s Bar three hours before sunset. But as he explores nearby establishments, he notices something unsettling: many bars operate as fronts for prostitution. He feels out of his depth — his work has always centered on housing, not intervention. Then two women approach him: the sister of the tourism‑etiquette expert from Bielefeld and the mother of the travel agent from Hamburg. Both are in Aruba for professional reasons, and both sense he is new to the island. They notice the blueprints in his briefcase and suggest a way forward: help the sex workers while refining his prototype housing plan.
For the next 90 minutes, the trio visits several bar fronts, speaking with workers. Six women decide to join them — two expressing dreams of entering the baseball industry to escape their current circumstances.The nine‑person group orders takeout from Charlie’s Bar. As sunset approaches, the Hamburg mother arranges a rental car to bring everyone to temporary housing, where she and the Bielefeld sister can support the six women. Meanwhile, the housing flipper revises his prototype:
• expanding the complex to six stories
• designing it as the inverse of a bar front — a place of refuge rather than exploitation
• incorporating two baseball batting cages as a symbolic and practical nod to the women’s aspirations
At dusk, the group of eight departs for Oranjestad, ensuring the women’s safety. The main character stays behind, completing the blueprints with the hope that these six women will become the complex’s first residents.
Musically, the piece follows a 4AABBCC4A’A'DD structure. Its inspirations include Kelvingrove, Tom Turpin’s The St. Louis Rag, and George Botsford’s The Pianophiends Rag, blending hymn‑like warmth, classic ragtime swagger, and playful syncopation — mirroring the protagonist’s inviting spirit and his commitment to transforming hardship into opportunity.
Additional contextual understanding of Aruba’s red‑light district came from reporting on the region’s social challenges, grounding the narrative in real‑world complexity.
No.92 Novi Sad: Ragtime for the Composed Soul
Titel nach Uploader: Novi Sad: Ragtime for the Composed Soul, Op.2 No.92
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
4'5 |
Jahr der Komposition |
2024 |
Novi Sad: Ragtime for the Composed Soul, Op. 2 No. 92 marks the ninety‑second destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds at Kaćka petlja, where craftsmanship, renewal, and inter‑city continuity converge in Serbia’s cultural capital.
The narrative follows a 26‑year‑old professional repair technician, raised in a lower‑class family with a lineage of electricians and carpenters. Gifted from childhood, he mastered both trades quickly — building a three‑story outhouse at age ten. Over the years, his portfolio expanded to contemporary rooms and studios for multi‑unit apartments, duplexes, and condominiums, as well as weather‑resistant wooden houses: underground bunkers for six people, wilderness hotel‑style rooms for two, and other structures designed for durability and ingenuity.
His family, believing he could become the greatest craftsman in generations, encouraged him to seek inspiration abroad. He travels to the Balkan Peninsula, choosing Novi Sad for its architectural prestige. He spends nearly two days exploring Petrovaradin Fortress, studying its layered construction. The NIS Building, Banovina Palace, and the Serbian National Theatre further spark ideas. At Stadion Karađorđe, during a UEFA Nations League qualifier, he becomes fascinated by the stadium’s floodlights — their structure, angles, and resilience.
Inspired, he visits Kaćka petlja, expecting calm. Instead, he finds patrons engaging in risky behavior and mocking a group of quadruplet workers laboring in harsh conditions. Disturbed, he purchases wood and tools and repairs several areas of their workspace. His craftsmanship impresses the quadruplets — and unexpectedly draws the attention of four familiar visitors: the accredited investor and the triplets from Ulm, who completed their Budapest journey a year earlier.
The accredited investor praises the technician’s instinct to help strangers without being asked. Grateful, the technician invites all of them — the quadruplets, the investor, and the triplets — to join him in planning a major project:
• 25 hectares for townhouse‑style duplexes and local stores with no national chains, reminiscent of Montpelier, Vermont
• 525 acres of beachfront property on the Eastern Seaboard, designed for hurricane‑prone areas, including beach houses and bunkers for ten people
The group agrees enthusiastically. They share local desserts and coffee, and at sunrise, depart together by tram — symbolizing the merging of two storylines.
The choice to include returning characters from Ulm reflects the shared spirit between Ulm and Novi Sad, two cities not officially twinned but united through innovation, resilience, and architectural imagination.
Musically, the piece follows a 4AABB4CC8A’A”DD structure. Its include Johann Ladislaus Dudek’s 10th Variation from Variations for Piano Op. 71 No. 5 in C minor and Charley Straight’s “Black Jack Rag”, blending Central European variation technique with Midwestern ragtime vitality — mirroring the protagonist’s composed nature and the architectural harmony he seeks to build.
No.93 Berne: Ragtime for the Resourceful Soul
Titel nach Uploader: Berne: Ragtime for the Resourceful Soul, Op.2 No.93
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
A-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Sehr schwer |
Länge |
4'0 |
Jahr der Komposition |
2026 |
Berne: Ragtime for the Resourceful Soul, Op. 2 No. 93 marks the ninety‑third destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds in Berne’s Lorraine District, where survivalism, resourcefulness, and quiet protection converge in Switzerland’s capital.
The narrative follows a 31‑year‑old doomsday prepper, a minimalist who thrives in both urban and rural environments. In his suburban studio, he repurposes furniture with ingenuity — a reclining chair doubling as a full‑size bed, laundry washed without machines, and daily routines optimized for efficiency. In the wilderness, he is even more formidable. He builds underground bunkers along his travels, each stocked with survival kits capable of sustaining him for seven days. His knowledge of off‑grid living allows him to navigate dangerous locales, fend off pickpockets and scammers, and remain financially stable without spending money.
Confident in his abilities, he decides to test his resourcefulness abroad — in Berne, Switzerland. He arrives with a strict budget: 8,191 Swiss francs, limiting himself to 200 francs per day for the first four days. His itinerary is frugal yet fulfilling: hot chocolate from a stand near Zytglogge; Swiss cheese from a vendor near Käfigturm; fruit and vegetables near Nydeggbrücke, each costing 31 francs; sleeping accommodations inside Stadion Wankdorf — a special booth offering six‑hour overnight stays for 127 francs, modeled after stadium suites. Even after these expenses, he retains ample funds.
Seeking rare entertainment, he heads to the Lorraine District, recalling its mention during Euro 2008 and its reputation for vulnerability and exploitation. The area is rife with con artists targeting workers and tourists. He is tested immediately: pickpockets attempt shoulder‑surfing; alcoholics try selling counterfeit watches and scammers circle him, probing for weakness. He stays one step ahead, altering his walking patterns to confuse predators. The ultimate challenge comes from a notorious card dealer who has swindled three workers out of seven weeks’ salaries. The dealer attempts to con him out of 5,000 francs.
But the prepper notices something unusual — the playing cards are counterfeit. Before selecting a card, he reveals a genuine card from his own pocket, demonstrating the difference. The dealer, enraged, lunges at him. The prepper subdues him bare‑handed, delivering three controlled elbow strikes to the stomach. The criminal flees, dropping the stolen money. The prepper returns the funds to the three workers inside a trailer. He then offers them an alternative path: temporary refuge in one of his bunkers, designed for three occupants, where they can experience peace and dignity away from exploitation. He promises to secure a three‑bedroom, three‑bathroom suburban apartment for their long‑term future.
The workers agree to leave the industry. That evening, the four share warm Swiss chocolate. The prepper uses part of his remaining funds to purchase tickets for their next journey, beginning at Kirchenfeldbrücke, symbolizing a new chapter of survival, stability, and hope.
Musically, the piece follows a 4AABB4CC4DDAEE structure, with an eight‑bar D section. Its primary influence is Lucy Thomas’s “Lasses Rag”, whose lively yet grounded character mirrors the protagonist’s resourceful spirit and steady resilience.
No.94 Gzira: Ragtime for the Superb Soul
Titel nach Uploader: Gzira: Ragtime for the Superb Soul, Op.2 No.94
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
C-Dur |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Schwer |
Länge |
3'55 |
Jahr der Komposition |
2026 |
Gżira: Ragtime for the Superb Soul, Op. 2 No. 94 marks the ninety‑fourth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds along Triq Testaferrata, where maritime ingenuity, reinvention, and quiet compassion converge on Malta’s northeastern waterfront.
The narrative follows a 33‑year‑old vessel entrepreneur, born into a seafaring lineage of marina owners, yacht architects, and freight‑vessel operators. Inspired by generations of maritime innovation, he pursues an unprecedented mission: purchasing vessels seized, blocked, or blacklisted by federal and international authorities — especially those registered in high‑risk jurisdictions such as the Marshall Islands and Nauru — and converting them into tools for education, recreation, and community uplift.
Fishing vessels acquired at IRS auctions become rowing boats for high schools and colleges. Blacklisted yachts are transformed into boathouses for marinas across the Northeast. His work is noble, selfless — yet he longs for something even more audacious. He dreams of converting large OFAC‑blacklisted vessels originally used for liquefied petroleum gas and oil into affordable, de‑facto cruise ships — a maritime “Skip Forward” concept without the four‑year commitment, offering accessible voyages instead of luxury exclusivity.
One of his early ancestors adored Malta for its harbors, so he travels to Gżira to design a prototype. Over three days, he draws inspiration from: the architectural fortitude of Fort Manoel; the religious motifs of Gżira Parish School; the sleek geometry of the National Pool Complex; Joseph Colombo’s double‑front dwellings on Rue d’Argens. From these influences, he sketches a vessel capable of transformation — a ship that could be purchased within five years and repurposed into a new kind of cruise experience.
After days of design, he seeks to unwind and asks a tour guide to show him nightlife on Triq Testaferrata. The guide, one of Gżira’s most beloved residents, knows nearly everyone — especially those who have strayed into the red‑light industry.
Hearing about the entrepreneur’s maritime plans, the guide suggests meeting three workers who have struggled with legal issues related to loitering and solicitation. All three love the sea and dream of working in the boating industry.
The meeting lasts forty‑five minutes, becoming a heartfelt conversation about second chances. The workers speak openly about their hopes; the entrepreneur explains his vision for a repurposed vessel industry. Their interests align perfectly.
The five walk to the entrepreneur’s boat residence, where they dine on local delicacies. At dawn, the boat departs for a short ride — not a cruise, but a symbolic gesture meant to spark inspiration and show the workers what their future could look like.
This entry was written at a time when one of Gżira’s residents, Roberta Metsola, serves as President of the European Parliament — a figure known for championing human rights. Her presence adds a subtle thematic resonance to the story’s focus on dignity, opportunity, and renewal.
Musically, the piece follows a 4AABBA8CC4A8 structure, with a 24‑bar C section. Its primary influence is S. E. Roberts’s “That Nifty Rag”, whose buoyant syncopation and crisp phrasing mirror the protagonist’s superb blend of maritime expertise and humanitarian vision.
No.95 Phnom Penh: Ragtime for the Sorrowful Soul
Titel nach Uploader: Phnom Penh: Ragtime for the Sorrowful Soul, Op.2 No.95
Instrumentierung |
Klavier |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Tonart |
b-Moll |
Verleger |
Antonio Martinez |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
4'21 |
Jahr der Komposition |
2026 |
Phnom Penh: Ragtime for the Sorrowful Soul, Op. 2 No. 95 marks the ninety fifth destination in the ongoing Ragtime at the Red-Light District series. This entry unfolds in Svay Pak, where grief, remembrance, and moral resolve converge in one of the most painful chapters of Cambodia’s modern history
.
The narrative follows a 33-year-old travel agency owner and philanthropist who spent his entire adult life building itineraries and generating extraordinary wealth — often between fifty and one hundred bookings per month, reaching as high as $3.5 million in one year. Yet the main character lives modestly, with nearly all his income donated to causes worldwide, including building schools in Appalachia. Yet the main character feels empty until a letter arrives, containing a panoramic photograph of Phnom Penh’s city center and a plea for an emergency trip.
He boards the next flight, where an unlikely coalition appears: relatives of travelers from Alkmaar and Cologne, the bartender from La Jonquera, and the lay minister from Saarbrücken, all engaged in a religious mission seeking deeper emotional connection through Cambodia’s history.
Their pilgrimage begins at Choeung Ek, then Tuol Sleng Genocide Museum, the Norodom Sihanouk Memorial, and other sites tied to the Fall of Phnom Penh in April 1975. At each stop, the group remains silent, overwhelmed by the enormity of suffering inflicted by the Khmer Rouge, a regime responsible for mass atrocities and severe human rights violations.
Instead of sightseeing, they donate about $75,000 to high schools, including Lycée Sisowath, hoping to give students the futures their ancestors were denied. Moved by their compassion, the headmaster invites them to rest at Hotel Le Royal. They decline, choosing instead to sleep inside the high school for spiritual and philanthropic reasons. The headmaster then directs them to Svay Pak, urging further reflection.
The quintet walks the district in total silence, witnessing the faces of trafficked individuals, trapped in cycles of debt, coercion, and exploitation. The philanthropist breaks down, realizing that money alone cannot heal wounds of this magnitude because seeing the events is more than trauma but rather like witnessing a second genocide — not of bodies, but of dignity, hope, and the soul.
The bartender, who once asked in La Jonquera, “How much does apathy cost?”, proposes a dangerous but necessary vow:
Fight for the trafficked — and for all of Cambodia — even if it costs everything.
All agree. Their plan begins immediately, with the philanthropist contacting donors and global partners, including those residing in all of Phnom Penh’s sister cities, including Ho Chi Minh City — urging international cooperation, recognizing that human trafficking is no longer a local issue but a global crisis.
Musically, the piece follows an 8ABBCCDDA8 structure, but with several profound differences. Aside from the left-hand patterns, the melody uses four distinct modal frameworks — Melodic Minor, Locrian, Mixolydian ♭6, and Phrygian Dominant — all while retaining a B-flat minor key signature throughout.
The primary inspiration is Schubert’s “Der Leiermann”, one of the most sorrowful songs in Western art music. A secondary influence comes from Leticia Stewart’s Just Plain Cruel, encountered during the documentary Caught in the Light at an ACAMS event in Atlantic City — a film confronting the realities of human trafficking.
This entry is dedicated to the people of Cambodia — to their suffering, their resilience, and the dignity that the world owes them. It is an apology in musical form: for the bombing, for the Khmer Rouge, for the shattered futures, and for the ongoing exploitation that continues to wound the nation’s soul.
|
|
|