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The George Gershwin Reader: (Readers on American Musicians)

The George Gershwin Reader: (Readers on American Musicians)

          
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About the Book

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.

Table of Contents:
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


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Product Details
  • ISBN-13: 9780195327113
  • Publisher: Oxford University Press Inc
  • Publisher Imprint: Oxford University Press Inc
  • Depth: 19
  • Language: English
  • Returnable: N
  • Spine Width: 24 mm
  • Width: 224 mm
  • ISBN-10: 019532711X
  • Publisher Date: 07 Jun 2007
  • Binding: Paperback
  • Height: 152 mm
  • No of Pages: 368
  • Series Title: Readers on American Musicians
  • Weight: 516 gr


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