Gershwin's Galligaskins

[eyeresist]

I think Gershwin's piano concerto is terrific, and regret it doesn't receive the respect enjoyed by concertos of Prokofiev, Ravel and Rachmaninov which were influenced to some extent by Gershwin (check out Rach's jazzy performance of the Paganini Rhapsody).

The lack of respect is partly due to structural issues which could have been resolved had G lived to revise his works, and partly due to an academic suspicion of music that is so "pop" in its accessibility and melodism.

His death is possibly the greatest tragedy to occur in American classical music.

Shortly before his death, Gershwin was telling people that his next opera would use the 12-tone system. I can't say whether he would have made good on that promise.

If that's true, Gershwin might have been the guy to really popularise dodecaphony! (Recall Schonberg's ambition to be whistled by the milkman - Gershwin definitely had a better chance of that.)

[vandermolen]

I have the feeling that George Gershwin does not enjoy a very high appreciation among the classical music audience. This goes both to the traditional music enthusiasts, who dismiss him as not being a serious composer, and the proponents of new music, many who flat out hate him. I however find him to be a horrendously underappreciated composer, deserving much more popular appeal and academic respect. I find there has been no greater lyrical genius since Schubert, when he composed his late piano sonatas. Take An American in Paris or Porgy and Bess, for instance, and tell me why these works don't have been met with more admiration. What do you think; does Gershwin really possess the genius I see in him, or am I perhaps just guilty here of defending a personal pleasure of mine?

PS. What is the best recording of American in Paris? I really love the Gene Kelly movie version, and I'm looking for a recording just like that, but in original arrangement.

I like Gershwin's music. "Variations on I got Rhthym" is a favourite. I like the Schoenberg painting Avatar.

[karlhenning]

I think Gershwin's piano concerto is terrific, and regret it doesn't receive the respect enjoyed by concertos of Prokofiev, Ravel and Rachmaninov . . . .

Well, you're talking about three composers who knew their craft solid; Gershwin was still in a 'getting-there' stage, perhaps.  The first I listened to the Concerto in F, I thought it overlong and rambling;  when I went back to it months later, though — well, I cannot with candor say that I just straight-out thought it a great piece, but I did think it much better than I first prized it at.  Should go back to it again sometime soon . . . .

[Hector]

Not a matter of appreciation or otherwise for me.

He does nothing for me.

Perhaps, he died to young.

[Drasko]

Tangentially from another thread: Krystian Zimerman playing Three Preludes

http://www.youtube.com/v/JSDUW8PhK7A

[ChamberNut]

Gershwin doesn't appeal to me either.  Perhaps if I enjoyed show tunes and Broadway, I'd enjoy his music more.

[kristopaivinen]

Gershwin doesn't appeal to me either.  Perhaps if I enjoyed show tunes and Broadway, I'd enjoy his music more.

I've never enjoyed show tunes and anything even mildly related to Broadway, and I was already turned off by those as a child when I heard Bernstein's tunes, but then I saw the American in Paris film at the age of 22 and with Gene Kelly's coreography in it, and I was so impressed that I gave Gershwin a closer look. I didn't become very enthusiastic about G during that time, and he seemed entirely out of place in my repertoire, since I was on a very rigorous diet of Strauss, Schoenberg and Berg. Then I happened to see that Schoenberg regarded him very highly in some aspects, and as I gave him another try, I was swept away by the richness and memorability of his themes which I found to be non-existent in most other "show business" affairs. Perhaps he was just a welcome break away from all the gloominess and despair that characterized my other musical interests. This despair characterizes many 20th century works as well as Schubert, and even Beethoven and Bach are filled moments of despair. Gershwin's music, however, is unique in the aspect that there's not a hint of despair in it. I am fascinated by this property of Gershwin's music, and I believe not even any of the other Broadway composers ever achieved this. Perhaps this property of Gershwin makes him a less than serious composer, but in any case, it also makes me enjoy his music.

[The new erato]

Perhaps this property of Gershwin makes him a less than serious composer,

Oh he was a serious composer all right who just happened to write fun music!

[SonicMan46]

Well, I've been enjoying American popular (although much written by immigrant Jews) music & Broadway musicals for many years, and have seen many musicals on Broadway since the late 1960s - for those who seem to not enjoy this music, whether out of hearing & not liking the genre, or from not being familiar w/ the songs or shows, there are certainly plenty of learning experiences.

For example, the numerous films made over the decades, esp. in the '40s & '50s - a good start is Yankee Doodle Dandy (1942) w/ James Cagney & Walter Huston (yes, both as 'song & dance' men; Cagney an Oscar); but there are so many others.

An excellent course from the Teaching Company is Great American Music: Broadway Musicals w/ Bill Messenger, esp. if the course is 'on sale' from the company; this series is best for the pre- & early Broadway eras.

Finally, just a few musical bios (many others exist) of two of the greats of American song:

Richard Rodgers - The Sweetest Sounds (2001) - about both his Hart & Hammerstein years!

Somewhere Over the Rainbow:  Harold Arlen (1999) - collaborated w/ so many great lyricists!

   

[DavidRoss]

Rhapsody in Blue and An American in Paris are, IMO, authentic American musical masterpieces, brimming with Jazz Age vitality, wit, and color.  I've loved them both since childhood.  One of the first classical records I bought was Pennario's terrific recording of Rhapsody with the Hollywood Bowl Symphony Orchestra.  My favorite these days is probably Levine's stripped down "jazz band" version, though Bernstein's famous take with the pick-up Columbia Symphony is not to be missed, and MTT's with his New World Symphony is pretty saucy, too!

Porgy and Bess, of course, is another near-masterpiece, dripping with beautiful tunes.  Someday maybe it will no longer be so controversial and we'll be able to enjoy a first-rate production and recording that really does it justice.  Can't have opera singers in it, though--most of them have been trained out of the grittiness and "bad" vocal habits that make for effective jazz singing!

[Mark G. Simon]

Porgy and Bess, of course, is another near-masterpiece, dripping with beautiful tunes.  Someday maybe it will no longer be so controversial and we'll be able to enjoy a first-rate production and recording that really does it justice.  Can't have opera singers in it, though--most of them have been trained out of the grittiness and "bad" vocal habits that make for effective jazz singing!

Except that it isn't jazz. Sportin' Life was the only character Gershwin allowed to be cast who had a "musical theater" voice. For the rest he wanted trained voices, though at that time, there were few black singers allowed on the opera stage, so they all had experience singing popular songs. For all the recitative-like and ensemble passages, operatic training is necessary, but Porgy still has to be able to deliver an idiomatic "I got plenty of nothin'".

[DavidRoss]

I'll take Billie Holiday singin' Summertime over Leontyne Price any day of the week (and twice on Sunday).

[Mark G. Simon]

Billie Holliday would have a hard time getting through the rest of it.

[eyeresist]

I'm another Gershwin admirer who dislikes "Broadway and showtunes", though I do love the great American songbook.

Well, you're talking about three composers who knew their craft solid; Gershwin was still in a 'getting-there' stage, perhaps.  The first I listened to the Concerto in F, I thought it overlong and rambling;  when I went back to it months later, though — well, I cannot with candor say that I just straight-out thought it a great piece, but I did think it much better than I first prized it at.  Should go back to it again sometime soon . . . .

Which performance do you have? I started with Wild/Fiedler, which always seemed unsatistactory to me. Previn with the LSO is a lot more "characteristic", with better sound too. There's also a great "American in Paris" on that disc. The "Rhapsody" is just okay in comparison.

[kristopaivinen]

I forgot to ask about Porgy and Bess. I've only heard Rattle's '89 version. How good are other ones?

[robnewman]

George Gershwin (1898-1937)
'Somebody Loves Me'
Lyrics by B. MacDonald and B. G. De Sylva. This extraordinary song was composed and published in 1924 and featured that same year in George White's, 'Scandals' - USA

http://www.mediafire.com/?5jwzforyj3w

[Guido]

Every time I listen to Porgy and Bess I am saddened that he died so young... this opera is just so moving and inventive and miles above everything else he wrote (and I'm a Gershwin fan!)

[pjme]

   Nicolaus Harnoncourts version will soon be out.  


Porgy - Jonathan Lemalu
Bess - Isabelle Kabatu
Serena - Angela Renee Simpson




Conductor Nikolaus Harnoncourt, best-known for his historically-informed performances of such classical composers as Beethoven and Haydn, is this week conducting a run of Gershwin's Porgy and Bess for the first time in his career. The concert performances, held at Harnoncourt's Styriarte Festival in Graz, Austria feature an all-black cast headed by Jonathan Lemalu as Porgy and Isabelle Kabatu, replacing an indisposed Measha Brueggergosman, as Bess.

Harnoncourt made his first venture into 20th-century opera in November last year, when he conducted Stravinsky's The Rake's Progress. However he is said to have been fond of Gershwin's all-black opera since his teens. Typically, Harnoncourt is now conducting a version which is faithful to Gershwin's original score.

Jonathan Lemalu in particular has been praised by the local critics for his 'humane' portrayal of the role of Porgy.

The concert performances are taking place every other night until 7 July. For further details, go to www.styriarte.com.

(BBC)

P.

[Guido]

Hmm - sounds interesting! I have the Rattle version and also the Leontyn Price excerpts, but maybe there's room for another one...

My favovourite numbers are probably the introduction and first Summertime, Oh Doctor Jesus (first time) and the the beautiful Oh Dey's so Fresh and Fine - the telling parallels that Gershwin draws between religion and selling fruit is so wonderfully done - not insulting necessarily as this is some of the most heartfelt and wonderful music in the opera.

[Franco]

Well, you're talking about three composers who knew their craft solid; Gershwin was still in a 'getting-there' stage, perhaps.  The first I listened to the Concerto in F, I thought it overlong and rambling;  when I went back to it months later, though — well, I cannot with candor say that I just straight-out thought it a great piece, but I did think it much better than I first prized it at.  Should go back to it again sometime soon . . . .

I just had that opportunity as I converted the Andre Previn/LSO LP to CD, and felt that these works hold up very well.  As the record played, I was trying to decide if the Concerto in F was really the best written work of the three, and almost started a thread on this forum to that effect.  Yes, the transitional writing is rather crude, and the sequences too much filler, but the work is a very good 20th century American composition.

It is very sad that Gershwin died so young, because I can hear amazing progress from Rhapsody in Blue to American in Paris, the Concerto and Porgy & Bess so that I think had he lived a normal lifespan, he would have become one of the greatest American composers. 

He had what many lack: a unique and strong voice.

Even with the works he did leave us, I feel that he is a major composer writing American Classical music.