Piano Music by Michael Quigley

Now available on cassette (Chrome/Dolby B ... Dolby C available on request) for a cost of US$5, includes postage in North America. For ordering information or cost outside North America, drop me some e-mail.



Anita (1:42)

Six Filles
E.G.B. (1:21)
Nicola (1:16)
Little One (1:20)
Joanna (1:28)
Katzenauge (1:10)
C.A.G. (1:22)

Music for "The Socialites"
Theme from "The Socialites" (2:14)
Riff Blues (1:39)
On the Move (1:16)

Perfumed Blue (1:19)
To Fair Evelina, My Darling Daughter (2:09)
Summer & Fall (1:15)
Later (1:03)
All Alone (1:10)
"Derivative" (2:16)
Jeannette (0:54)
Unfinished -- jazz (0:27)
Three Preludes (0:11; 0:17; 0:31 -- TT: 0:59)
Sarcasm for Piano (1:19)
Opus 8 (1:01)
Untitled - Weird (1:00)
Duet for Piano (1:13)
Exposition Prelude (2:02)
Rouge Neige (1:28)


Overture, Prelude & Theme (Variations on a Jazz Composition) (1:11; 0:25; 0:53 -- TT: 2:29)

Music for "Julius Cæsar"
Overture (1:17)
Incidental Music (0:05; 0:04; 0:11; 0:09; 0:31 -- TT: 1:00)

Music for "Marvinicus"
Overture (0:49)
Prelude (0:35)
March to the Tin Mines (0:52)
Strategy (0:18)
Escape (0:29)
Prelude to Battle (0:51)

Incidental Music for "Triumph of a Mobster" (0:12; 0:20; 0:17; 0:22; 0:04; 0:16 -- TT: 1:31)

Overture to "Krakatoa" (1:14)
Improvisation (9:33)
Wagner: Prelude to Tristan and Isolde (arranged by MQ) 6:53
Duet for Piano (0:52)
Rouge Neige (1:02)

Music for "The Socialites"
Theme for "The Socialites" (1:49)
Riff Blues (1:26)
On The Move (1:07)

Overture, Prelude and Theme (Variations on a Jazz Composition (1:03; 0:20; 0:43 -- TT: 2:03)




Anita (October 20-November 11, 1967) is my last completed piece, largely written when I was living in residence at UBC. The dedicatee was chosen for her musical-sounding name.

Six Filles back in the bad old days would probably have been translated as "Six Chicks". The first of these, E.G.B., dates from November 1, 1965. The musical connection with this name should be obvious. Nicola (December 27, 1965 - published in the University of B.C. student paper The Ubyssey on October 6, 1967) was the girlfriend of a piano-playing rival well known for boogie-woogie, rock and other stylings. Little One was completed December 28, 1965, but had been in various stages of development for some time before that. A later version with lyrics by Howard Baker also exists. The main theme has a similarity to "Tammy." Joanna, written in the key of D flat, has an interesting ending which resolves the piece into C major. It was completed July 1, 1966. Katzenauge (August 25, 1966) took as its inspiration a young woman who was a devout churchgoer. Perhaps this has something to do with the fact that the piece is based on the same chord progression as "Onward Christian Soldiers"? C.A.G. (September 8-10, 1966) was more of a commission than the previous five, again based on three musical notes. After creating these six pieces, I had the nerve to go around and get all of the respective dedicatees (some of whom had no knowledge of them in advance) to sign the manuscripts!

Music for "The Socialites" was for a play in the form of a movie script written in the summer of 1964. Containing a flashy "concerto" part, this piece was premiered on May 14, 1965 at my high school exposition (a combined variety and fashion show). Note the way that two of the motifs join in pensive counterpoint briefly at about 1:27.

Perfumed Blue was composed between January 26 and February 5, 1967.

To Fair Evelina, My Darling Daughter, was obviously from my "let's think of the wackiest title possible" phase. When I performed this at my piano teacher's recital, it was untitled for obvious reasons. The piece has a very negative feeling about it, especially the middle with a 1-4-5 rock progression, the left hand playing in C major, the right hand in D major.

Summer & Fall (for Joanne) was completed on October 8, 1967 and first published in The Ubyssey on October 27th, 1967.

Later (December 30, 1966) originally titled "Linda", and later subtitled "For Linda M," was composed during a post-Christmas, pre-New Year's gathering of several high school friends which was traditional for a few years during the mid-60's.

All Alone (January 6, 1965) was my first post-Socialites composition.

"Derivative" is the name given to this piece by someone visiting me from England. It has some foreign-sounding (Mexican? Brazilian?) elements to it. He didn't say what it was derivative of!

Jeannette was named after a girlfriend I had during second year university. Much of the piece, which was published in The Ubyssey, was supposed to be improvised. This version consists of all the sections which are not.

Unfinished - Jazz is a fragment, the last piece I've written, dating from around 1967. It was created while living at UBC.

The first of Three Preludes was based on an improvisation. This performance of the third one was created by multi-tracking.

Sarcasm for Piano (sketches are dated December 20, 1965) was inspired by the Prokofieff composition of the same name where each hand plays in a different key. In my piece, the right hand is in F, the left hand is in G, but this is no big deal, since the left hand part is the same 3 notes over and over. The dissonant part before the final statement of the main theme (0:51-0:53) contains a motif from a large-scale Heldenleben-like opus I was planning, representing the "critics" like in Richard Strauss's work.

Opus 8 (the title means nothing chronologically!) is twelve-tone, but only in the sense that all twelve tones have to be used before they can be used again (there is no "row"). It was entered in a composition contest held in the Okanagan and got an honorable mention. (My brother's simultaneously-entered piece got a higher prize.)

Untitled - Weird was originally part of a longer composition, an exercise in atonality influenced by my interest in Schoenberg's Opus 11, 18 and 23.

Duet for Piano was written for my brother Thomas and myself. The version here was created by multi-tracking, recording one part, then listening to it and playing the other part at the same time.

Exposition Prelude is a flashy display of arpeggios, octaves, sixths, etc. first performed at my high school's exposition in the spring of 1966. The final chords were inspired by the end of Prokofieff's 3rd Piano Concerto.

Rouge Neige is an oddball piece, mostly composed away from the piano. It's pretty hard - compare the timing of this performance with the "historical" one later on the CD.

Overture, Prelude & Theme (Variations on a Jazz Composition) dates from 1962-1963, and was originally composed under the pseudonym of Cæsar Doric. The theme was originally "Theme from 'Triumph of a Mobster'" (screenplay by myself and Howard Baker). Note the influence of film composer Miklós Rózsa (one of my musical heroes).

(recorded circa 1962-3, Maple Ridge, B.C.)

Overture for "Julius Csar" (dated March 11, 1962) was written for a revision of Shakespeare's tragedy (the whole play) which I had done, intended for a puppet show which never was produced. The five sections of incidental music are 1. Csar's Theme; 2. Pompey Theme (Gnaeus Pompeus, Roman General); 3. March (stolen from Miklós Rózsa's King of Kings); 4. Conspirator's Theme (direct plagiarism of the wolf's theme in Prokofieff's Peter and the Wolf); and 5. Morning.

Music for "Marvinicus" (1962), written under the pseudonym of Miklos Quivalos, was for a parody of Spartacus supposedly released by Mark-Quigley-Mark (M-Q-M). The element of parody also extended to piano folios created of music for spectacular films of the time such as Ben-Hur, King of Kings, and El Cid, several of which I owned.

Music for "Triumph of a Mobster" (circa 1962 - see Overture, Prelude & Theme), written under the pseudonym of Csar Doric, consists of the following: 1. Prelude - Fanfare; 2. Dedication (same as "Prelude" from the aforementioned); 3. Background Music: Cue - End of Dedication; 4. Entrance of Characters; 5. Cue for Ho Ho (4 seconds long!); and 6. Cue: George Opens Trap Door.

Overture to "Krakatoa" (1962-3) was written by "Csar Doric" for another M-Q-M parody, this time of M-G-M's Mutiny on the Bounty. Some of the musical inspiration came from a Mighty Mouse cartoon on the subject of the famous South Seas volcano.

Improvisation is a lengthy, brooding piece made up on the spot, consisting of various elements which I had been experimenting with. The recording date is unknown, probably around 1962-3.

Wagner: Prelude to Tristan was arranged by me from a full orchestral score. I also arranged the Prelude to Act 3 of Wagner's Siegfried; unfortunately, no recording exists.

Duet for Piano is played by my brother and myself. Rouge Neige is taken at a much livelier pace than the remake! Original recordings of Music for "The Socialites" and Overture, Prelude and Theme complete the historical section.


"Modern" recordings done February 22, 1989 on a Sony TC-280 reel-to-reel recorder, Scotch 207 tape at 7-1/2 ips with a Sony F-998 "One Point Stereo Dynamic Microphone."

This recording copyright 1989 and 1997 by Michael Quigley. Nicola 1966, Summer and Fall 1967, Anita 1967, Six Filles 1967 by Michael Quigley