The George Gershwin Reader
Published on 7. June 2007
Book
Paperback/Softback
368 pages
978-0-19-532711-3 (ISBN)
Description
George Gershwin is one of the giants of American music, unique in that he was both a brilliant writer of popular songs and of more serious music. Here, music lovers are reated to a spectacular celebration of this great American composer.
The Reader offers a kaleidoscopic collection of writings by Gershwin, as well as those about Gershwin, written by a who's who of famous commentators. More than eighty pieces of superb variety, color, and depth include the critical debate over Gershwin's concert pieces, especially "Rhapsody in Blue" and "An American in Paris." There is a complete section devoted to the controversies over "Porgy and Bess," including correspondence between Gershwin and DuBose Hayward, the opera's librettist, plus unique interviews with the original Porgy and Bess--Todd Duncan and Anne Brown. Sprinkled throughout the book are excerpts from Gershwin's own letters, which offer unique insight into this fascinating and charming man. Along with a detailed chronology of the composer's life, the editors provide informative introductions to each entry.
Here is a book for anyone interested in American music. Scholars, performers, and Gershwin's legions of fans will find it an irresistible feast.
The Reader offers a kaleidoscopic collection of writings by Gershwin, as well as those about Gershwin, written by a who's who of famous commentators. More than eighty pieces of superb variety, color, and depth include the critical debate over Gershwin's concert pieces, especially "Rhapsody in Blue" and "An American in Paris." There is a complete section devoted to the controversies over "Porgy and Bess," including correspondence between Gershwin and DuBose Hayward, the opera's librettist, plus unique interviews with the original Porgy and Bess--Todd Duncan and Anne Brown. Sprinkled throughout the book are excerpts from Gershwin's own letters, which offer unique insight into this fascinating and charming man. Along with a detailed chronology of the composer's life, the editors provide informative introductions to each entry.
Here is a book for anyone interested in American music. Scholars, performers, and Gershwin's legions of fans will find it an irresistible feast.
Reviews / Votes
Reading The George Gershwin Reader yields fresh ideas, opening the door for further investigations * Evan Rapport, Music and Letters *More details
Series
Language
English
Place of publication
New York
United States
Target group
College/higher education
Illustrations
15 music examples
Dimensions
Height: 229 mm
Width: 152 mm
Thickness: 22 mm
Weight
603 gr
ISBN-13
978-0-19-532711-3 (9780195327113)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Robert Wyatt | John Andrew Johnson
The George Gershwin Reader
E-Book
02/2004
1st Edition
OUP USA
€21.99
Available for download
Persons
Robert Wyatt is a concert pianist and Gershwin authority who is now Executive Director of the Cape Cod Conservatory of Music.
John Andrew Johnson is Assistant Professor of Musicology in the Department of Fine Arts at Syracuse University.
John Andrew Johnson is Assistant Professor of Musicology in the Department of Fine Arts at Syracuse University.
Content
Acknowledgments
Introduction
Part I: Portraits of the Artist
1: Ira Gershwin: "In person, my brother was a good deal like his music" (1961)
2: Frances Gershwin Godowsky: "George Gershwin Was My Brother" (1962)
3: Kay Swift: "Did you ever feel that composer resembled his music?" (ca. 1970)
4: Oscar Levant: "Variations on a Gershwin Theme" (1939)
5: Verna Arvey: "George Gershwin Through the Eyes of a Friend" (1948)
6: "Gershwin Bros." (1925)
7: Isaac Goldberg: "Childhood of a Composer" (1931)
Part II: The Growing Limelight (1919-1924)
8: George Gershwin: Letter to Max Abramson (1918)
9: Dolly Dalrymple: "Pianist, Playing Role of Columbus, Makes Another American Discovery: Beryl Rubinstein Says This Country Possesses Genius Composer" (1922)
10: George Gershwin: Letter to Ira Gershwin (February 18, 1923)
11: Whiteman Judges Named: Committee Will Decide 'What Is American Music'" (1924)
12: Paul Whiteman and Mary Margaret McBridge: "An Experiment" (1926)
13: Olin Downes: "A Concert of Jazz" (1924)
14: Carl Van Vechten: Letter to George Gershwin (February 14, 1924)
15: James Ross Moore: "The Gershwins in Britain" (1994)
16: Ira Gershwin: "Which Came First?" (1959)
Part III: Fame and Fortune (1924-1930)
17: Philip Furia: "Lady, Be Good!" (1996)
18: Ira Gershwin: Letter to Lou and Emily Paley (November 26, 1924)
19: Alec Wilder: "That Certain Feeling" (1972)
20: Carl Van Vechten: "George Gershwin, An American Composer Who Is Writing Notable Music in the Jazz Idiom" (1925)
21: Samuel Chotzinoff: "New York Symphony at Carnegie Hall" (1925)
22: Lawrence Gilman: "Mr. George Gershwin Plays His New Jazz Concerto" (1925)
23: "Paul Whiteman Gives 'Vivid' Grand Opera; Jazz Rhythms of Gershwin's '135th Street'" (1925)
24: George Gershwin: "Our New National Anthem" (1925)
25: George Gershwin: "Jazz Is the Voice of the American Soul" (1926)
26: George Gershwin: "Does Jazz Belong to Art?" (1926)
27: George Gershwin: "Mr. Gershwin Replies to Mr. Kramer" (1926)
28: Abbe Niles: "The Ewe Lamb of Widow Jazz" (1926)
29: Carleton Sprague Smith: "d'Alvarez-Gershwin Recital" (1927)
30: Allen Forte: "Someone to Watch Over Me" (1990)
31: "George Gershwin Accepts $100,000 Movietone Offer: Fox to Pay That Sum for Film Version of Musical Comedy - Composer Gets Bid of $50,000 for Rhapsody in Blue Rights" (1928)
32: George Gershwin: Letter to Mabel Schirmer (1928)
33: "An American in Paris: Narrative Guide"
34: "Gershwin's New Score Acclaimed"
35: "Fifty Years of American Music ... Younger Composers, Freed from European Influences, Labor Toward Achieving a Distinctive American Musical Idiom"
36: "The Composer in the Machine Age"
37: "'Jazz,' the Critics, and American Art Music in the 1920s"
Part IV: Maturity (1930-1935)
38: Making Music
39: Satire to Music
40: George Gershwin
41: Of Thee I Sing, Kaufman-Ryskind Musical Comedy Satire at the Music Box
42: A Music Master Talks of His Trials
43: From William Grant Still: A Study in Contradictions
44: George Gershwin's 'I Got Rhythm' (1930)
45: The Gershwin Myth
46: George Gershwin as Orchestrator
47: George Gershwin Plays His Second Rhapsody for the First time Here with Koussevitsky and Boston Orchestra
48: Letter to Rose Gershwin
49: George the Ingenuous
50: Letter to Emily Paley
51: Letter to Ira Gershwin
52: The Future of Gershwin
Part V: Porgy and Bess
53: From America's Folk Opera
54: Selected Correspondence
55: George Gershwin Arrives to Plan Opera on Porgy
56: Porgy and Bess, Native Opera, Opens at the Alvin: Gershwin's Work Based on DuBose Heyward's Play
57: Rhapsody in Catfish Row: Mr. Gershwin Tells the Origin and Scheme for His Music in That New Folk Opera Called 'Porgy and Bess'
58: From an Interview by Robert Wyatt
59: From an interview by Robert Wyatt
Part VI: Last Years: Hollywood (1936-1937)
60: Hollywood - An Ending
61: Gershwin Analyzes Science of Rhythm
62: Radio Pays a Debt
63: A Foggy Day
64: Letters to Zenna Hannenfeldt
65: Letters to Mabel Schirmer
66: Letter to Emily Paley
67: Letter to Henry Botkin
68: Letter to Rose Gershwin
69: Letter to Rose Gershwin
70: Letter to Irene Gallagher
Part VII: Obituaries and Eulogies
71: Report in Variety
72: George Gershwin
73: Hail and Farewell: Career and Position of George Gershwin in American Music
74: Poem
75: Tribute
76: Gershwin Left $341,089 Estate to His Mother; 'Rhapsody in Blue' Appraised at 'Greatest Value' and Opera Rights of 'Nominal Interest' to the Residue
77: Letter to Rose Gershwin
Part VIII: As Time Passes
78: Music by Slide Rule
79: Gershwin on Gershwin
80: Gershwin, Schillinger, and Dukelsky: Some Reminiscences
81: Why Don't You Run Upstairs and Write a Nice Gershwin Tune?
82: George Gershwin
83: George Gershwin: yes, the sounds as well as the tunes are his
Chronology
Selected Bibliography
Credits
Index
Introduction
Part I: Portraits of the Artist
1: Ira Gershwin: "In person, my brother was a good deal like his music" (1961)
2: Frances Gershwin Godowsky: "George Gershwin Was My Brother" (1962)
3: Kay Swift: "Did you ever feel that composer resembled his music?" (ca. 1970)
4: Oscar Levant: "Variations on a Gershwin Theme" (1939)
5: Verna Arvey: "George Gershwin Through the Eyes of a Friend" (1948)
6: "Gershwin Bros." (1925)
7: Isaac Goldberg: "Childhood of a Composer" (1931)
Part II: The Growing Limelight (1919-1924)
8: George Gershwin: Letter to Max Abramson (1918)
9: Dolly Dalrymple: "Pianist, Playing Role of Columbus, Makes Another American Discovery: Beryl Rubinstein Says This Country Possesses Genius Composer" (1922)
10: George Gershwin: Letter to Ira Gershwin (February 18, 1923)
11: Whiteman Judges Named: Committee Will Decide 'What Is American Music'" (1924)
12: Paul Whiteman and Mary Margaret McBridge: "An Experiment" (1926)
13: Olin Downes: "A Concert of Jazz" (1924)
14: Carl Van Vechten: Letter to George Gershwin (February 14, 1924)
15: James Ross Moore: "The Gershwins in Britain" (1994)
16: Ira Gershwin: "Which Came First?" (1959)
Part III: Fame and Fortune (1924-1930)
17: Philip Furia: "Lady, Be Good!" (1996)
18: Ira Gershwin: Letter to Lou and Emily Paley (November 26, 1924)
19: Alec Wilder: "That Certain Feeling" (1972)
20: Carl Van Vechten: "George Gershwin, An American Composer Who Is Writing Notable Music in the Jazz Idiom" (1925)
21: Samuel Chotzinoff: "New York Symphony at Carnegie Hall" (1925)
22: Lawrence Gilman: "Mr. George Gershwin Plays His New Jazz Concerto" (1925)
23: "Paul Whiteman Gives 'Vivid' Grand Opera; Jazz Rhythms of Gershwin's '135th Street'" (1925)
24: George Gershwin: "Our New National Anthem" (1925)
25: George Gershwin: "Jazz Is the Voice of the American Soul" (1926)
26: George Gershwin: "Does Jazz Belong to Art?" (1926)
27: George Gershwin: "Mr. Gershwin Replies to Mr. Kramer" (1926)
28: Abbe Niles: "The Ewe Lamb of Widow Jazz" (1926)
29: Carleton Sprague Smith: "d'Alvarez-Gershwin Recital" (1927)
30: Allen Forte: "Someone to Watch Over Me" (1990)
31: "George Gershwin Accepts $100,000 Movietone Offer: Fox to Pay That Sum for Film Version of Musical Comedy - Composer Gets Bid of $50,000 for Rhapsody in Blue Rights" (1928)
32: George Gershwin: Letter to Mabel Schirmer (1928)
33: "An American in Paris: Narrative Guide"
34: "Gershwin's New Score Acclaimed"
35: "Fifty Years of American Music ... Younger Composers, Freed from European Influences, Labor Toward Achieving a Distinctive American Musical Idiom"
36: "The Composer in the Machine Age"
37: "'Jazz,' the Critics, and American Art Music in the 1920s"
Part IV: Maturity (1930-1935)
38: Making Music
39: Satire to Music
40: George Gershwin
41: Of Thee I Sing, Kaufman-Ryskind Musical Comedy Satire at the Music Box
42: A Music Master Talks of His Trials
43: From William Grant Still: A Study in Contradictions
44: George Gershwin's 'I Got Rhythm' (1930)
45: The Gershwin Myth
46: George Gershwin as Orchestrator
47: George Gershwin Plays His Second Rhapsody for the First time Here with Koussevitsky and Boston Orchestra
48: Letter to Rose Gershwin
49: George the Ingenuous
50: Letter to Emily Paley
51: Letter to Ira Gershwin
52: The Future of Gershwin
Part V: Porgy and Bess
53: From America's Folk Opera
54: Selected Correspondence
55: George Gershwin Arrives to Plan Opera on Porgy
56: Porgy and Bess, Native Opera, Opens at the Alvin: Gershwin's Work Based on DuBose Heyward's Play
57: Rhapsody in Catfish Row: Mr. Gershwin Tells the Origin and Scheme for His Music in That New Folk Opera Called 'Porgy and Bess'
58: From an Interview by Robert Wyatt
59: From an interview by Robert Wyatt
Part VI: Last Years: Hollywood (1936-1937)
60: Hollywood - An Ending
61: Gershwin Analyzes Science of Rhythm
62: Radio Pays a Debt
63: A Foggy Day
64: Letters to Zenna Hannenfeldt
65: Letters to Mabel Schirmer
66: Letter to Emily Paley
67: Letter to Henry Botkin
68: Letter to Rose Gershwin
69: Letter to Rose Gershwin
70: Letter to Irene Gallagher
Part VII: Obituaries and Eulogies
71: Report in Variety
72: George Gershwin
73: Hail and Farewell: Career and Position of George Gershwin in American Music
74: Poem
75: Tribute
76: Gershwin Left $341,089 Estate to His Mother; 'Rhapsody in Blue' Appraised at 'Greatest Value' and Opera Rights of 'Nominal Interest' to the Residue
77: Letter to Rose Gershwin
Part VIII: As Time Passes
78: Music by Slide Rule
79: Gershwin on Gershwin
80: Gershwin, Schillinger, and Dukelsky: Some Reminiscences
81: Why Don't You Run Upstairs and Write a Nice Gershwin Tune?
82: George Gershwin
83: George Gershwin: yes, the sounds as well as the tunes are his
Chronology
Selected Bibliography
Credits
Index