Gershwin's Galligaskins

[Karl Henning]

I've probably shared this before . . . in the rather-too-much-like-fanzine-writing bio I am presently reading, the author reports that this is the first song Gershwin published, in 1916.  So I think it means something, that the composer "owned" it sufficiently to make a piano roll of it later.

http://www.youtube.com/v/GqL_Yn3FqWo

[The new erato]

100% agree. My favorite Gershwin CD ever, one of my favorite anything CDs ever.

Very fine indeed, but I tend to think that GG deserves to be heard in complete muscals, hence my preference for the Nonesuch series.

[Karl Henning]

In his Omnibus show on The American Musical Comedy, Lenny concludes with a comparison between the climactic scenes in The Mikado and Of Thee I Sing, respectively, to underscore the sophistication in (and/or benefit drawn from earlier examples by) the latter.  And lo! this morning I learn that Of Thee I Sing was the first musical to win a Pulitzer Prize for Drama.

[San Antone]

Very fine indeed, but I tend to think that GG deserves to be heard in complete muscals, hence my preference for the Nonesuch series.

Except that Rhapsody in Blue did not originate in a musical, and the jazz band original is much better, imo, than the orchestral arrangement.  However, I do completely agree with you about the Nonesuch series.  Having the complete musicals gives a true version of the works a/o/t hearing just the hit songs or highlights.  But, none of his musicals come close to Porgy & Bess, which I consider 'The Great American Opera'.

Gershwin's death at 38 is a tragic loss since he was just hitting his stride with more serious works when his life was cut short.

[Karl Henning]

Thread duty:

The best Rhapsody in Blue for my money is this one done with the original jazz band version by Ferde Grofe, and very well done, too.

Gershwin By Grofe: Original Orchestrations & Arrangements

100% agree. My favorite Gershwin CD ever, one of my favorite anything CDs ever.

Okay, okay! I yield! I have placed my order.

[Karl Henning]

I should say that, years ago (now) I had became firmly jaded against the Rhapsody in Blue.  I could not with any hope of accuracy report why.  Furthermore, while as a general thing my feeling was that, if I never heard the piece again, that would be just fine by me—nevertheless, I really enjoyed its use in the soundtrack of Woody Allen's Manhattan.  Enjoyed it without snickering, genuine, pure enjoyment.  But otherwise, instant channel-switch.

The recording which snapped me out of it, and which remains one of the my favorite versions of the piece, is Marcus Roberts' jazz combo version:

http://www.youtube.com/v/Xrs135MAvJc

And, of course (because I am an unreconstructable fan of The Bobs), the Rhapsody in Bob:

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

[San Antone]

I should say that, years ago (now) I had became firmly jaded against the Rhapsody in Blue.  The recording which snapped me out of it, and which remains one of the my favorite versions of the piece, is Marcus Roberts' jazz combo version:

http://www.youtube.com/v/Xrs135MAvJc

That Marcus Roberts version is an amazing arrangment, and recording.  Thanks for the reminder.

Along with the jazz band version I also enjoy the piano roll.  The only version I do not listen to anymore is the orchestral one.

[pjme]

This weekend at the Concertgebouw in Brugge/Bruges: Gershwin + van Immerseel.

http://www.concertgebouw.be/nl/event/detail/2095/Anima_Eterna_Brugge

van Immerseel performes the critical University of Michigan - scores edition. Incl. the new set of car claxons.

Recently, it's come to light that George Gershwin possibly meant different pitches for the taxi horns he indicated in his renowned piece, "An American in Paris." The original score notated a circled A B C and D next to the taxi horn notes, but after some further investigation, photos, and a recording from the original performance from 1929, it seems those were just labels for the horns (i.e., horn A, not the note A). Listening to the recording from 1929, one can discern that the pitches are a lower A, higher D, Ab, and Bb. It provides more dissonance than the A B C D set that has been used by countless orchestras over the decades. Here at LAPR we decided to play around a bit and put together this set with our existing horns. Love that honking A. Whether musical directors decide to keep things the same, or go with this new (old) information is totally up to them, but we wanted to show you what these re-discovered pitches sound like with our taxi horns.

http://www.music.umich.edu/ami/gershwin/?page_id=59

https://www.youtube.com/v/8cLMTYYzs6s


On the program:

Catfish Row - Suite from Porgy and Bess (1936)


Rhapsody in Blue (1924)



An American in Paris (1928)


Four Songs
- The man I love (1924 - 27)
- I got Rhythm (1930)
- My Man's Gone Now (1935)
- By Strauss (1936)

Performers:

Jos Van Immerseel
Anima Eterna Brugge:
Claron McFadden: sopraan
Bart Van Caenegem: piano Steinway & Sons, 1908

[Christo]

I remember reading a story about Gershwin and George Antheil roaming through Paris in a search for diffently tuned taxi horns.

[Karl Henning]

I remember reading a story about Gershwin and George Antheil roaming through Paris in a search for diffently tuned taxi horns.

That's one example of why I resent this "kiddie bio" of Gershwin. Repeated mention of shopping for taxi horns, no hint of Antheil.

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[Maestro267]

I've only recently realised how much of Rhapsody in Blue is taken up with extended piano cadenzi. Several times, the orchestra goes a good 3-4 minutes without playing a single note. And this is only a 16-minute piece.

[Karl Henning]

The flip side is, now you see how readily it lends itself to a piano solo adaptation 

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[Maestro267]

The flip side is, now you see how readily it lends itself to a piano solo adaptation 

Yep. I believe Gershwin arranged it himself for both solo piano and two pianos.

[NikF]

Wasn't going to mention, but on Sunday the 16th last month in an Edinburgh pub I sat in and (as usual) played the changes - I Got Rhythm/Gershwin - but this time because oor Karl knows where it's at. It might have sounded like I was wearing my boxing gloves but hell, I was sincere.

[San Antone]

*** bump ***

I found this quote in the new biography of Gershwin I just finished reading:

A spoken memorial broadcast from Los Angeles the day after George died included this tribute from Arnold Schoenberg: "Music to him was the air he breathed, the food which nourished him, the drink that refreshed him. Music was what made him feel, and music was the feeling he expressed. Directness of this kind is given only to great men, and there is no doubt that he was a great composer. What he achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world."

— Summertime: George Gershwin's Life in Music by Richard Crawford

[San Antone]

Gershwin spent the last year, or more, of his life in Hollywood providing songs for three movies, Shall We Dance, Damsel in Distress and Delicious.  Throughout this time he referred to a string quartet he had "written" but not notated, i.e. having it complete in his mind.  Unfortunately his brain tumor and death happened so rapidly that he was unable to commit the work to paper in any fashion.  During the last weeks of his life friends and family commented on the change that occurred, "the life went out of his eyes," "his pallor was sickly and gray," "the only time he ever declined to play the piano," etc.

He also stated that he found the entire experience of writing for the movies so tiresome and unrewarding, and by then he had already decided to avoid more Broadway shows, he planned to devote the rest of his life to more serious musical pursuits.  The string quartet was just one of those ideas, he planned on writing more orchestral works and opera.

One can only guess at what possible masterpieces never materialized because of his death at 38.

[vers la flamme]

*** bump ***

I found this quote in the new biography of Gershwin I just finished reading:

A spoken memorial broadcast from Los Angeles the day after George died included this tribute from Arnold Schoenberg: "Music to him was the air he breathed, the food which nourished him, the drink that refreshed him. Music was what made him feel, and music was the feeling he expressed. Directness of this kind is given only to great men, and there is no doubt that he was a great composer. What he achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world."

— Summertime: George Gershwin's Life in Music by Richard Crawford

That's a beautiful tribute. Schoenberg seemed to begin expressing somewhat unexpected admiration for certain composers once he came to America. He apparently had kind words for Shostakovich as well, though I think he was unimpressed with the famous Leningrad Symphony.

Anyway, I can't say I know much of Gershwin's work. I love the Miles Davis/Gil Evans take on Porgy & Bess, and then I have such works as the Rhapsody in Blue, An American in Paris, and the Piano Concerto in F major, on CD. I especially like the concerto; I have the Entremont/Ormandy/Philadelphia recording and it's great. What else should I check out, Gershwin fans?

[Jo498]

I don't care for the Concerto in F and not much for the "Rhapsody" but Porgy and Bess is a masterpiece and he wrote dozens of great tunes that deservedly becames standards. I think the problem is that nowadays these musicals are hard to take as a whole production. Maybe with creative staging, I don't know. I have a CD with "Girl crazy" that contains about three famous standards (I got rhythm, But not for me, Embraceable you) and the rest is listenable but not quite memorable,

[Pohjolas Daughter]

Wife & I are BIG FANS of American popular song from the first half of the 20th century - Gershwin, Kern, Arlen, Rodgers & Hart, and so many others - have the complete Ella Fitzgerald Songbooks, if you like vocals - all, including Gershwin, are excellent.

Yeah!   

[Pohjolas Daughter]

I have the feeling that George Gershwin does not enjoy a very high appreciation among the classical music audience.

No, you're not alone (and hoping that you still check out this forum?!).

All the best,

PD