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Index

Aarons, Alex, 7 Ager, Cecelia, 294

Barkleys of Broadway (1949) film, 206, 214

Bartók, Bela, 119
Ager, Milton, 294 Albee, Edward, 67
“Battle Hymn of the Republic,” 36 Bauer, Marion, 222
Alberts, Charles S., 138 Alda, Robert, 134
“Beale Street Blues,” 238 Beethoven, Ludwig van, 9, 35, 76, 225 Rondo a Cappricio, Op. 129, 37 Sonata in F Minor, Op. 57 (“Appassionata”),
37
Alexander III, Czar of Russia, 5 Allen, Gracie, 207, 212, 213 Americana (1928) musical, 10 An American in Paris (1951) film, 214, 240, 262 An American in Paris (2015) musical, 262, 264,
265, 266, 267, 269, 270
Sonata Op. 110, 37 Sonata Op. 81, 37 String Quartet, Op. 18, No. 4, 37 Symphony No. 3 (“Eroica”), 37 Symphony No. 5, 248

Anchors Aweigh (1945) film, 254

Anderson, Marian, 191 Antheil, George, 155–56, 229

Ballet mécanique, 155, 156 Jazz Symphony, 156

Anything Goes (1936) film, 200 Arcadelt, Jacques, 36
Symphony No. 7, 37 Bennett, Robert Russell, 47, 199, 201, 211, 212,
214, 216
Bennett, Tony, 238 Benton, Thomas Hart, 162 Berg, Alban, 162, 225, 229

Lyric Suite, 33, 162

Arden, Victor, 93, 97, 268 Arlen, Harold, 9, 47, 49, 199, 276, 277
“Stormy Weather,” 277

Wozzeck, 231

Bergere, Valerie, 72
Arlen, Michael, 154 Armitage, Merle, 48, 53, 291 Armstrong, Louis, 244, 277 Arvey, Verna, 25
Berkeley, Busby, 45 Berlin, 161 Berlin, Irving, 44, 48, 53, 61, 64, 68, 69, 93, 154,
225, 239, 244, 276, 291, 293
“Alexander’s Ragtime Band,” 68, 269 “Blue Skies,” 240, 253
Asian American Jazz Orchestra, 256 Askins, Harry, 132 Astaire, Adele, 7, 86, 88, 89, 96–97, 98–99, 199 Astaire, Fred, 7, 45, 46, 47, 53, 82, 86, 88, 93,
96–97, 98–99, 197, 198, 199, 200, 201, 202, 203–6, 207, 208–9, 210, 211, 212, 213, 216, 236, 239, 262, 263, 266–68, 271, 272, 293
“Everybody Step,” 277 “Everybody’s Doing It Now,” 87 “I Love a Piano,” 265 “Just in Love,” 265
“A-Tisket, A-Tasket,” 235, 240, 245

Atkins, Charles “Cholly,” 271 Atkinson, Brooks, 177

Stop! Look! Listen!, 75 Watch Your Step, 69, 96

Berliner, Paul, 31–32 Berman, Pandro, 206
Auner, Joseph, 231 Auric, Georges, 160
Bernstein, Leonard, 223, 225, 246, 247, 252, 254

Beverly Hills, 12, 13, 44, 199 Biddle, George, 170
Austin, William, 223, 224, 225–26 Avakian, George, 236

Bizet, Georges, 35
Bach, Johann Sebastian, 32, 35, 36

Toccata and Fugue in E Major, 37 Baker, Kenny, 213

Carmen, 73

Blackwell, Ed, 283 Blake, Eubie, 23, 25, 34 Shuffle Along, 25, 72, 73, 273 Blakey, Art, 253
Balakirev, Mily, 36 Banfield, Stephen, 229 Baraka, Amiri, 285–86 Barber, Samuel, 223

Art Blakey’s Jazz Messengers with Thelonius

Monk, 280
Bargy, Roy, 123, 295

[301]

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302 Index

Blitzstein, Marc, 223, 225 Bloch, Ernst, 227
Carpenter, John Alden, 140, 157, 225, 229

Skyscrapers, 229

Bloodworth, James, 250 Boas, Franz, 159
Carter, Desmond, 98 Carter, Elliott, 226 Caruso, Enrico, 6
Bok, Mary Curtis, 155 Borel-Clerc, Charles
“La Mattchiche,” 156 Borroff, Edith, 226
Caryll, Ivan, 61 Castle, Irene, 96 Castle, Vernon, 96
Boston, 45, 51, 114, 143, 144, 145, 146, 149, 152, Castro Brothers Orchestra, 166
162, 182, 252, 296
Boston Pops, 252 Boston Symphony Orchestra, 45, 114, 252
Cavendish, Charles, 99 Cayce, Edgar, 293 Cedars of Lebanon Hospital, 51, 52
Botkin, Benjamin A., 153, 158–59, 164–66, 168, Cerf, Bennett, 166
169, 171, 172, 173
Folk-Say, 164–66, 172
Cezanne, Paul, 154 Chabrier, Emmanuel, 36 Chadwick, George, 140 Chagall, Marc, 163
“Self-Portraiture and Social Criticism in
Negro Folk Song,” 164
Chaplin, Charlie, 47, 49 Charleston, SC, 153, 169–74, 176 Etchers Club, 170

Treasury of American Folklore, 175

Botkin, Harry. See Botkin, Henry Botkin, Henry, 153, 154, 162–63, 164, 171, 173,
177
Macedonia Church, 171 Poetry Society of South Carolina, 170 Society for the Preservation of Old Spirituals,
170, 171
Boulanger, Nadia, 33, 160 Braggiotti, Mario, 161 Brahms, Johannes, 35, 253

Three Hungarian Dances, 145 Variations on a Theme of Paganini, 37 Zigeunerlieder, 37

Chase, Gilbert, 223–24 Cheatham, Doc, 253 Cherry, Don, 283 Chicago Philharmonic Orchestra, 246 Chopin, Frédéric, 32, 35 Ballades (nos. 1 and 3), 37 Scherzo No. 2 in B♭ Minor, 37 Sonata No. 3 in B Minor, 37

City for Conquest (1941) film, 215

Clague, Mark, 192
Braque, Georges, 162 Bregman, Buddy, 243 Bristow, George, 75 Broderick, Matthew, 261, 267, 268 Broekman, David, 246 Brown, Anne, 172, 183, 190 Brown, Anthony, 256 Brown, Lew, 44
Clarke, Hugh A., 61

Bruskin, Rosa. See Gershwin, Rose

Bubbling Brown Sugar (1976) musical, 271

Buffalino, Brenda, 271
Clef Club Orchestra, 68 Coburn, Charles, 134 Cocteau, Jean, 155
Buffet, Bernard, 242
Coffee, Lenore, 215

Cogdell, J., 70
Burkholder, J. Peter, 224 Burns, George, 207, 212, 213 Busch, Lou, 252
Cohan, George, 53, 61 Cole, Nat King, 238, 240, 251 Coleman, Bill, 278–79 Coleman, Ornette, 283
“Chronology,” 283
Bushkin, Joe, 278–79 Busoni, Ferrucio, 35 Butler, David, 198

The Shape of Jazz to Come, 283 This Is Our Music, 283

Coles, Charles “Honi,” 261, 271–72 Coltrane, John, 275, 283

A Love Supreme, 282

Caesar, Irving, 7, 136, 138, 139, 290–91, 294 Cage, John, 283 Calloway, Cab, 99, 253, 286 Calvin, Jackson

Jazz Variations on Gershwin’s Rhapsody in

Blue, 254
Campbell-Watson, Frank, 106, 114, 118 Cantor, Eddie, 199

My Favorite Things, 282–83

Columbia University, 38, 158 Confrey, Zez, 224 Coniff, Ray, 252 Connor, Chris, 237 Conrad, Con
Capitol Revue (1919) musical, 81 Capra, Frank, 48, 216 Carlisle, Kitty, 294
“Singin’ the Blues,” 103

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303 Index

Cook, Will Marion, 60, 63–64, 73

Clorindy, 63

Don Juan (1926) film, 44 Donizetti, Gaetano, 225 Dorsey, Jimmy, 93, 201 Dorsey, Tommy, 250

In Dahomey, 63

Copland, Aaron, 29, 140, 222–23, 224, 225, 227,
228, 229, 230, 246
“Down Where the Swanee River Flows,” 138 Drake, Alfred, 238 Draper, Paul, 253
Piano Concerto, 222 Corelli, Archangelo, 36 Cortot, Alfred, 161
Drdla, Franz, 70 Dresser, Louise, 132
Cowell, Henry, 33, 38, 39, 228

Crawford, Richard, 221, 226, 229–30 Crazy for You (1992) musical, 261, 262, 263, 264,
265, 266, 267, 268, 270, 273
Crosby, Bing, 200, 246, 251

Cuban Love Song (1931) film, 166

Cugat, Xavier, 13
Dreyfus, Max, 48, 132, 134–35, 148 DuBois, W. E. B.

The Souls of Black Folk, 188, 189

Duffy, John, 252 Duke, Vernon, 9, 30, 53, 62, 221, 225, 240, 292 Dukelsky, Vladimir. See Duke, Vernon Dumas, Abe, 172
Cullen, Countee, 169

Dunayevsky, Isaak, 225 Dunbar, Paul Laurence, 189 Duncan, Todd, 50, 190, 292 Durante, Jimmy, 146
Color, 164

Curb Your Enthusiasm, 258

Cushing, Edward, 145 Cushing, Harvey, 52
Dushkin, Samuel, 48 Dvořák, Antonín, 35
Czerwonky, Richard, 246
“Humoresque,” 72
Daintyland, 10

Daly, William, 146, 148 Dameron, Tadd, 280
Edwards, Cliff, 89, 95 Edwards, Julian, 61, 73
Damrosch, Walter, 7, 53, 106, 140, 142, 149, 163

Damrosh, Alice, 140 Dandy, Walter, 52

The Patriot, 73

Elgar, Edward, 140 Ellington, Edward Kennedy “Duke,” 18, 19, 33,
34, 146, 225, 255, 258, 284, 285, 286
“Cotton Tail,” 284
Darnton, Charles, 75 Davis, “Wild” Bill, 252 Davis, Miles, 275, 281–82, 283

  • Kind of Blue, 281
  • Harlem Air Shaft, 18

Miles Ahead, 281

“I’m Just a Lucky So and So,” 244

Will Big Bands Ever Come Back?, 255

Elman, Mischa, 71
“Milestones,” 281

Porgy and Bess, 281–82

Davis, Steve, 282
Emerson, Lake, and Palmer, 228 Engles, George, 140 Epstein, Julius, 215
Dawson, Mary Cardwell, 190 De Forrest, Muriel, 137 De Koven, Reginald, 61 Debussy, Claude, 32, 140, 149, 154, 225

Estampes, 119

Europe, James Reese, 68, 69 Evans, Gil, 275, 281–82 Evans, Walker, 170 Ewen, David, 291–92

Préludes, 33

Delius, Frederick, 225
Farmer, Art, 33

Koanga, 184

Faulkner, Anne Shaw, 70 Feather, Leonard, 253 Feinstein, Michael, 237 Ferris, Jean, 228
Demi-Tasse Revue (1919) musical, 137 Derain, André, 162 Deri, Otto, 224 Dessalines, Jean-Jacques, 184 DeSylva, Buddy, 44, 72, 81, 84, 135, 153
“Chloe,” 135
Fiedler, Arthur, 252 Finkelstein, Sidney, 227 Fisher, Rob, 265
“I’ll Say She Does,” 135

“I’ll Tell the World,” 135 Dett, Nathaniel, 189, 193 Diaghilev, Sergei, 154, 161, 188 Dietrich, Marlene, 47 Dillingham, Charles, 64, 65–66, 132 DiPietro, Joe, 261
Fitzgerald, Ella, 235–45, 253, 286

Ella Abraça Jobim, 243 Ella Fitzgerald Sings the Irving Berlin
Songbook, 240
Ella Fitzgerald Sings the Cole Porter Song

Book, 237, 243

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304 Index

  • Fitzgerald, Ella (cont.)
  • Gershwin Initiative, 192

Gershwin, Aaron, 3

Ella Fitzgerald Sings the Duke Ellington Song

Book, 237
Gershwin, Alan. See Schneider, Albert Gershwin, Arthur, 3, 4, 9–10, 12–13, 146
“Invitation to the Blues,” 13

A Lady Says Yes, 13
Ella Fitzgerald Sings the George and Ira
Gershwin Songbook, 239, 240–43
Ella Fitzgerald Sings the Harold Arlen
Songbook, 243

“Slowly but Surely,” 9 Gershwin, Frances, 3, 4, 9, 10, 12, 13–14, 30, 32,
43, 51, 159, 160, 290, 294

Ella Fitzgerald Sings the Irving Berlin Song

Book, 237

For George and Ira, 14

Gershwin, George, 4, 5, 50, 175

Ella Fitzgerald Sings the Jerome Kern
Songbook, 243

as businessman, 130

Ella Fitzgerald Sings the Johnny Mercer
Songbook, 243

as concert pianist, 120–27 as conductor, 145, 149

Ella Fitzgerald Sings the Rodgers & Hart Song

Book, 237 classical music appreciation, 34 connection to Yiddish theater, 24–25 death of, 12, 13, 43, 51–53, 127, 214, 215, 246,
249, 250, 290, 293

Ella Loves Cole, 243 Ella Sings Gershwin, 235, 236, 237–38,

244 film industry, 43–45

Lullabies of Birdland, 236, 240, 241 Mack The Knife – Ella In Berlin, 243 Nice Work If You Can Get It, 243, 244

Fitzgerald, F. Scott formative years in New York, 16–24 interest in visual art, 49, 162–63 “Jazz Is the Voice of the American Soul,” 285

Music by Gershwin (radio show), 9

music theory studies, 38–40 musical education, 29–41
“May Day,” 97 Flagler, Harry Harkness, 140 Flanagan, Tommy, 244 Florida, 170, 184 perceptions of ragtime and jazz, 66–67,
70–71, 161, 284–85
Flotow, Friedrich von

Portrait of Grandfather, 49

representation in music history texts, 221–32 rumored sexual orientation, 294 scrapbooks of, 35

Martha, 211

Folly Island, SC, 51, 171–72, 189 Fontaine, Joan, 46, 47, 207, 208–9 Foster, Stephen, 221
“Old Folks at Home,” 138

Four Daughters (1938) film, 215

Francis, Arthur. See Gershwin, Ira Fray, Jacques, 161 source for instrumental jazz, 275 work as song plugger, 23–24, 32 Works

135th Street. See Blue Monday The Ambulatory Suite, 242

An American in Paris, 82, 114, 131, 141–49,
150, 153, 156–57, 160, 161, 163, 168, 199, 207, 215, 222, 231, 242
Freed, Arthur, 44 Freeman, Harry Lawrence, 73, 190

VooDoo, 184

Freeman, Stan, 295 Friml, Rudolf
“Baby!,” 90

The Student Prince in Heidelberg, 92

Fry, Gary, 257
“Bess, You Is My Woman Now,” 182, 215,

  • 228
  • Fry, William Henry, 75

Funny Face (1957) film, 238, 239
“Blah, Blah, Blah,” 267

Blue Monday, 39, 44, 60, 72–77, 157, 228 “Boy Wanted,” 265
Gabler, Milt, 235 Gann, Kyle, 228, 229
“Boy! What Love Has Done to Me,” 89, 99

“Bride and Groom,” 88
Garbo, Greta, 241 Garland, Judy, 251, 292 Geller, Gertrude, 3
“Bronco Busters,” 87, 88, 264 “But Not for Me,” 199, 239, 243, 244, 264,
265, 282, 283

Gentlemen Prefer Blondes (1949) musical, 271

Geraty, Virginia Mixson, 190 Gershovitz, Morris. See Gershwin, Morris Gershwin Collection at the Library of Congress,
35, 38
“Buzzard Song,” 184 “By Strauss,” 46, 80, 240, 265 “Clap Yo’ Hands,” 95, 270

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305 Index

  • “Come to the Moon,” 137
  • “In the Mandarin’s Orchid Garden,” 10,

  • 239
  • Concerto in F, 30, 50, 51, 59, 61, 98, 102,

106–13, 118, 122, 124, 126, 127, 131, 140–41, 149, 150, 155, 157, 215, 216, 222, 223, 230, 264, 267, 295
“In the Swim,” 265 “It’s a Great Little World,” 96 “The Jolly Tar and the Milk Maid,” 47, 210,

  • 239
  • “A Corner of Heaven with You,” 133

“Could You Use Me?,” 264 Cuban Overture, 45, 153, 167–68, 240 A Damsel in Distress, 43, 46, 47, 82, 197–98,
206–13, 216, 239, 262, 263
“Dear Little Girl,” 88
“Juanita,” 89 “Just Another Rhumba,” 240 “Kickin’ the Clouds Away,” 95, 266, 272 Lady, Be Good!, 7, 11, 67, 76, 81, 83, 84, 85,
86, 87, 88, 89, 90, 92, 93, 95, 96–98, 141, 154, 157, 199, 212, 239, 262

La-La-Lucille!, 80, 81, 135

Let ’Em Eat Cake, 45, 81, 92, 296 “Let’s Call the Whole Thing Off,” 46, 200,
201, 207, 266
Delicious, 43, 45, 114, 197, 198–99, 202, 215 “Demon Rum,” 264 “Don’t Ask,” 90 “Down with Everything That’s Up,” 92 “Embraceable You,” 8, 199, 266, 275, 283

  • “End of a String,” 88
  • “Linger in the Lobby,” 87, 88

  • “Little Jazz Bird,” 89, 95
  • “Fascinating Rhythm,” 88, 89, 91, 96–97,

211, 240, 275, 276, 277, 278, 281
“Fidgety Feet,” 242, 270
“Little Sunbeam,” 71 “Liza,” 146, 266, 269

  • “A Fine Romance,” 200
  • “Looking for a Boy,” 90

“First Lady and First Gent,” 296 “Florida,” 87
“The Lorelei,” 99 “Love Is Here to Stay,” 53, 213, 239, 242,

  • 292
  • “A Foggy Day,” 47, 208, 209, 284

  • “For Lily Pons,” 265
  • “Love Is in the Air,” 87

“For You, For Me, Forevermore,” 265 Funny Face, 85, 93, 199, 239, 263, 264, 265,
272
“Love Is Sweeping the Country,” 242 “Love Walked In,” 213, 242 “Loving Makes Living So Sweet,” 133 Lullaby for String Quartet, 39, 72, 74,
228

George Gershwin’s Song-Book, 123, 223

Girl Crazy, 8, 83, 86, 87, 89, 90, 93, 99, 118,
199, 210, 261, 264, 275, 282
“The Half of It, Dearie, Blues,” 97, 157 “Hang on to Me,” 88, 98
“Making of a Girl,” 80, 132 “The Man I Love,” 239, 276 “March of the Swiss Soldiers,” 242

  • “Meadow Serenade,” 296
  • “He Loves, and She Loves,” 242, 264,

  • 268
  • “Mischa, Jascha, Toscha, Sascha,” 71

“The Moon Is on the Sea,” 87 “My Cousin in Milwaukee,” 100 “My Fair Lady,” 88
“Heaven on Earth,” 96 “High Hat,” 272 “Hoctor’s Ballet,” 46, 47 “How Can I Win You Now?,” 90 “How Long Has This Been Going On?,”
238, 243
“My Man’s Gone Now,” 182 “My One and Only,” 238 “Never Gonna Dance,” 204

New York Concerto. See Concerto in F New York Rhapsody. See Second Rhapsody

“Nice Baby! (Come to Papa!),” 90 “Nice Work If You Can Get It,” 47, 210,
244, 266, 280
“I Can’t Be Bothered Now,” 207, 209 “I Got Plenty o’ Nuttin’,” 182 “I Got Rhythm,” 89, 203, 224, 240, 270, 275,
276, 277–80, 282
“I Was Doing All Right,” 241 “I Won’t Play,” 249–50

Novelette in Fourths, 72

“I’d Rather Charleston,” 89, 98, 99 “I’ll Build a Stairway to Paradise,” 76, 264,
270
Of Thee I Sing, 8, 81, 82, 83, 85, 92 “Oh Lawd, I’m On My Way,” 182 Oh, Kay!, 82, 83, 86, 87, 88, 90, 91, 93, 95,

  • 96, 157, 262
  • “I’ve Got a Crush on You,” 92, 238, 266

  • “I’ve Got Rhythm,” 210
  • “Oh, Lady Be Good!,” 87, 91, 240, 241, 244,

  • 280
  • “In Sardinia,” 89

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306 Index

Gershwin, George (cont.)
Tell Me More, 84, 86, 87, 88, 89, 90, 91, 95,
154
Pardon My English, 45, 81, 83, 99, 100 “Pick Yourself Up,” 201, 209 Porgy and Bess, 29, 40, 45, 46, 50, 51, 59, 73,
76, 80, 81, 82, 83, 150, 153, 159, 168, 171, 173, 174, 176, 177, 182–95, 185, 197, 202, 223, 224, 225, 226, 227, 228, 229, 230, 231, 244, 246, 247, 275, 281, 282, 292, 293, 296–97
“That Certain Feeling,” 91 “There’s More to a Kiss,” 133 “They All Laughed,” 207 “They Can’t Take That Away from Me,” 46,
47, 203–6, 244, 264
“Things Are Looking Up,” 208, 209, 267 “Three Preludes,” 223, 225, 242, 296 Tip-Toes, 84, 86, 87, 88, 89, 90, 91, 93, 94,
95, 96

Primrose, 81 Promenade, 46

“Ragging the Traumerei,” 69 “The Real American Folk Song (is a Rag),”
69, 70, 93, 239, 265
“Tomalé (I’m Hot for You),” 139 Treasure Girl, 92, 93, 265 “Treat Me Rough,” 90
Rhapsody in Blue, 7, 26, 30, 34, 38, 39, 44,
46, 50, 59, 60, 67, 72, 74, 75, 76, 82, 92, 96, 98, 102–6, 107, 112, 113, 114, 117, 118, 119, 120, 122, 123, 124, 125, 126–27, 131, 140, 141, 143, 145, 149, 150, 155, 156, 157, 158, 160, 162, 199, 203, 215, 216, 221, 222, 223, 224, 227, 228, 229, 242, 246–58, 268, 271, 275, 277, 285, 291, 295
“Union League,” 296

Variations on “I Got Rhythm,” 40, 45, 102,

117–20, 122, 124, 223
“Waiting for the Sun to Come Out,” 11 “Walking the Dog,” 46, 203, 242, 266 “The Way You Look Tonight,” 209 “We’re Here Because,” 90 “We’re Six Little Nieces of Our Uncle Sam,” 71

Rhumba. See Cuban Overture

“’S Wonderful,” 231, 262, 263, 268 “Sam and Delilah,” 89, 99
“What Causes That?,” 265 “When Do We Dance?,” 88 “When the Debbies Go By,” 88 “When You Want ’Em, You Can’t Get ’Em, When You’ve Got ’Em, You Don’t Want ’Em,” 131
Second Rhapsody, 8, 40, 44, 45, 102,
113–17, 118, 119, 122, 198, 229, 295, 296 Shall We Dance, 43, 46, 47, 82, 197–206,
207, 210, 211, 213, 214, 216, 239, 262, 263, 264, 266, 268
“Who Cares?,” 265 “A Woman’s Touch,” 87
“Shopgirls and Mannequins,” 87 Show Girl, 145–48, 149, 269 “Sing of Spring,” 47, 210
“A Wonderful Party,” 87, 88 “Yan-Kee,” 71 “Yankee Doodle Blues,” 71
Gershwin, Ira, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 17,
20, 21, 22, 30, 31, 35, 38, 39, 41, 42, 44, 46, 47, 48, 52, 53, 69, 70, 71, 81, 82, 84, 88, 90, 91, 93, 94, 95, 96, 97, 100, 146, 147, 148, 158, 159, 160, 161, 162, 164, 168, 177, 184, 190, 193, 197, 198, 199, 200, 202, 211, 213, 224, 230, 235, 239, 240, 244, 245, 265, 266, 269, 270, 273, 289, 290, 291, 292, 293, 295, 296, 297, 300
“Six Simultaneous Prayers,” 174, 182 “Slap That Bass,” 201–2, 211 “Somebody from Somewhere,” 241 “Someone to Watch Over Me,” 238, 239,
266

Song of the Flame, 81

“Soon,” 92, 265 “Stiff Upper Lip,” 211, 212, 213

Stop Flirting, 7

Strike Up the Band, 83, 84, 92, 93, 241,
296

Lyrics on Several Occasions, 13

Works (with a collaborator other than
George)
“Summertime,” 182, 276, 282, 284 “Swanee,” 4, 7, 10, 81, 131, 134–40, 148,
149, 247, 290

The Firebrand of Florence, 13

“Island in the West Indies,” 240

Lady in the Dark, 13

“Swanee Rose,” 139 “Sweet and Low-Down,” 94, 95, 265

Sweet Little Devil, 81, 84, 247

Swing Time, 201, 204, 209
“Long Ago and Far Away,” 13 “The Man That Got Away,” 13

Park Avenue, 13

“Swiss Miss,” 89, 98, 212

Two Little Girls in Blue, 11

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307 Index

Gershwin, Leonore, 48, 53, 83, 159, 160 Gershwin, Morris, 3, 4, 5, 6, 7, 8, 9, 11, 12, 14, 17,
24, 247

Oklahoma!, 51 Show Boat, 146

Hancock, Herbie, 284, 286 Gershwin’s World, 275, 284, 287 Handel, George Frideric, 36 Handy, W. C., 53, 98, 156, 157, 284

Blues: An Anthology, 98, 157

“St. Louis Blues,” 98, 284 Hannenfeldt, Zenna, 49 Harburg, Yip, 6, 47, 52, 199 Harms Music Publishing Co., 132–34 Harris, Roy, 223, 227, 228 Hart, Lorenz, 239
Gershwin, Rose, 3, 4, 5, 6, 9, 10, 11, 12, 17, 20,
171, 214, 247, 290, 294
Gershwine, Jacob. See Gershwin, George Gibson, Michael, 268 Gilbert, Steven, 230 Gilbert, W.S., 47, 71, 81, 92, 210

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    mixed folios 447 The Anthology Series – 581 Folk 489 Piano Chord Gold Editions 473 40 Sheet Music Songbooks 757 Ashley Publications Bestsellers 514 Piano Play-Along Series 510 Audition Song Series 444 Freddie the Frog 660 Pop/Rock 540 Beginning Piano Series 544 Gold Series 501 Pro Vocal® Series 448 The Best Ever Series 474 Grammy Awards 490 Reader’s Digest Piano 756 Big Band/Swing Songbooks 446 Recorder Fun! 453 The Big Books of Music 475 Great Songs Series 698 Rhythm & Blues/Soul 526 Blues 445 Halloween 491 Rock Band Camp 528 Blues Play-Along 446 Harmonica Fun! 701 Sacred, Christian & 385 Broadway Mixed Folios 547 I Can Play That! Inspirational 380 Broadway Vocal 586 International/ 534 Schirmer Performance Selections Multicultural Editions 383 Broadway Vocal Scores 477 It’s Easy to Play 569 Score & Sound Masterworks 457 Budget Books 598 Jazz 744 Seasons of Praise 569 CD Sheet Music 609 Jazz Piano Solos Series ® 745 Singalong & Novelty 460 Cheat Sheets 613 Jazz Play-Along Series 513 Sing in the Barbershop 432 Children’s Publications 623 Jewish Quartet 478 The Joy of Series 703 Christian Musician ® 512 Sing with the Choir 530 Classical Collections 521 Keyboard Play-Along Series 352 Songwriter Collections 548 Classical Play-Along 432 Kidsongs Sing-Alongs 746 Standards 541 Classics to Moderns 639 Latin 492 10 For $10 Sheet Music 542 Concert Performer 482 Legendary Series 493 The Ultimate Series 570 Country 483 The Library of… 495 The Ultimate Song 577 Country Music Pages Hall of Fame 643 Love & Wedding 496 Value Songbooks 579 Cowboy Songs
  • An Afternoon with Porgy and Bess Tuesday, Dec

    An Afternoon with Porgy and Bess Tuesday, Dec

    College of Arts and Sciences College of Arts and Sciences ORIN College of Arts and Sciences GROSSMAN AN AFTERNOON WITH PORGY AND BESS TUESDAY, DEC. 8 • 5 p.m. click here to learn more about the artist Porgy and Bess was George Gershwin’s greatest labor of love and his most controversial masterpiece. When it opened on Broadway in 1935 it was attacked on all sides for its racial themes, its dark plot, the use of operatic devices such as recitative, and its length. The opera’s treatment of African American life has always stirred controversy, yet the opera contains Gershwin’s greatest music, some of which is familiar to everyone. This presentation explores the story of Porgy and Bess and the fascinating history of its life on the stage. It will include a performance of “Summertime,” “My Man’s Gone Now,” “It Ain’t Necessarily So,” and “Bess, You Is My Woman Now” in special arrangements by the great American pianist, Earl Wild. Orin Grossman has been delighting audiences the world over with his unique approach to performing and explaining great American and European music. As a performer he is in demand as an interpreter of the music of George Gershwin, playing his songs and classical compositions around the world, including Italy, Egypt, Australia, and Russia, where he performed Gershwin’s Rhapsody in Blue and gave the Russian premiere of Gershwin’s Second Rhapsody with the St. Petersburg Philharmonic to a standing ovation. Dr. Grossman graduated magna cum laude from Harvard College with a bachelor’s degree in music.
  • Wichita Symphony Orchestra Gershwin's Magic Key Young

    Wichita Symphony Orchestra Gershwin's Magic Key Young

    Wichita Symphony Orchestra Gershwin’s Magic Key Young People’s Concerts January 26-28, 2016 Family Concert January 30, 2016 George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928) as well as the opera Porgy and Bess (1935). He began his career as a song plugger in a music store on Tin Pan Alley (played songs for people to decide if they would buy the song sheet), but soon started composing Broadway theatre works with his brother Ira Gershwin. Ira wrote the lyrics/words while George wrote the music. He moved to Paris to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Porgy and Bess is now considered one of the most important American operas of the twentieth century. In his jazz compositions he captured music from immigrants so not to lose that rich music, the voice of the American soul. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor. Gershwin's compositions have been adapted for use in many films and for television, and several became jazz standards recorded in many variations. Many celebrated singers and musicians have covered his songs. The Roaring Twenties is a term for the 1920’s in the Western world.
  • AC;T I - SCENE 1 No.1 Overture Seep

    AC;T I - SCENE 1 No.1 Overture Seep

    7 AC;T I - SCENE 1 No.1 Overture Seep. 85 IOrchestra) Music seg11es as one. No. 2 Sweet And Lowdown 5-.:e p. 85 (Jimmy, Jeannie, Cirls & Cuys) Lights Up: A speakeasy in New York Cih;. JEANNIE leads a gaggle of CHORUS GIRLS. The surrounding tables are full of handsome YOUNG MEN. We are at a society bachelor party - rich boys having fun. JEANNIE & GIRLS. Grab a cab and go down To where the band is playing; Where milk and honey flow down Where ev'ry one is saying "Blow that sweet and low-down!" Busy as a beaver, You'll dance until you totter; You're sure to get the fever For nothing could be hotter Oh, that sweet and low-down! JEANNIE. (Over music) All right, peoples, peoples - listen up! Now this is a very sad occasion, 'cause tomorrow morning, our own Jimmy Winter is gettin' married for the third time! JIMMY. (Stands up) Fourth time! EVERYBODY cheers. JlMMY. (Continued) But this time, I'm not marrying some cheap chorus girl! JEANNIE & GIRLS. Awww. JIMMY. Sorry, cheap chorus girls. EVERYBODY cheers. JIMMY. (sung) There's a cabaret in this city I can recommend to you; Peps you up like electricity When the band is blowing blue. \:IC - l'rompt Book 8 .. I (JJ MY. They play nothing classic, Oh no• Down there, They crave nothing e se Bu he low-down there I you need a on·c nd he need is chron c If you're in a crisis. my advice is }EA lE & L Grab a cab and go down Grab a cab and go down To where the band 1s playin : Where he band i playing; Where milk and honey flow down Where ev'ry one is sayin' E IR Blow Blow that eet and low-d wnl" Low low down t Busy as a beaver, Busy as a beaver.
  • Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru

    Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru

    BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU Contents ALL THE I-IVELONG DAY (And The Long, Long Night), 141 THE BACK BAY POLKA, 119 BESS YOU IS MY WOMAN, 9 (I've Got) BEGINNER'S LUCK, 66 BY STRAUSS, 131 A FOGGY DAY, 87 FOR YOU, FOR ME, FOR EVERMORE, 123 I CAN'T BE BOTHERED NOW, 91 I GOT PLENTY 0' NUTTIN', 17 I LOVE TO RHYME, 103 I WAS DOING ALL RIGHT, 107 IT AIIV'T NECESSARILY SO, 23 THE JOLLY TAR AND THE MILK MAID, 95 JUST ANOTHER RHUMBA, 53 LET'S CALL THE WHOLE THING OFF, 70 LOVE IS HERE TO STAY, 11 1 LOVE WALKED IN, 11 5 MY MAN'S GONE NOW, 29 NICE WORK IF YOU CAN GET IT, 99 OH BESS, OH WHERE'S MY BESS, 35 PROMENADE (Piano Solo), 74 THE REAL AMERICAN FOLK SONG (Is A Rag), 4 SHALL WE DANCE, 78 SLAP THAT BASS, 61 SOPHIA, 136 SUMMERTIME, 40 THERE'S A BOAT DAT'S LEAVIN' SOON FOR NEW YORK, 44 THEY ALL LAUGHED, 82 THEY CAN'T TAKE THAT AWAY FROM ME, 127 A WOMAN IS A SOMETIME THING, 48 For all works contained herein: International Copyright Secured ALL RIGHTS RESERVED Printed in U.S.A. Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. Infringers are liable under the law. THE REAL AMERICAN FOLK BOOGIEWOOGIE.RUSONG (Is A Ras)* Lyrics by IRA GERSHWN Music by GEORGE GERSH WIN 1 " Near Bar - ce - io - na the Deas - int cioons The old tra - di - tion - a1 I You may dis - like, or you 'may a - dore, The na - tire songs from a A Fm6 C Cmaj7 Am7 C dim Span - ish tunes; The Ne - a - pol - i - tan Street Song sighs, You for - eign shore; They may be songs that you can't for - get,- They I I Written for "Ladies First" (1918) The first George and In Gershwin collaboration used in a Broadway show Copyright @ 1959 by Gershwin Publishing Corporation Assigned to Chappell & Co., Inc.
  • 99 Stat. 288 Public Law 99-86—Aug. 9, 1985

    99 Stat. 288 Public Law 99-86—Aug. 9, 1985

    99 STAT. 288 PUBLIC LAW 99-86—AUG. 9, 1985 Public Law 99-86 99th Congress Joint Resolution To provide that a special gold medal honoring George Gershwin be presented to his Aug. 9, li>a5 sister, Frances Gershwin Godowsky, and a special gold medal honoring Ira Gersh- [H.J. Res. 251] win be presented to his widow, Leonore Gershwin, and to provide for the production of bronze duplicates of such medals for sale to the public. Whereas George and Ira Gershwin, individually and jointly, created music which is undeniably American and which is internationally admired; Whereas George Gershwin composed works acclaimed both as classi­ cal music and as popular music, including "Rhapsody in Blue", "An American in Paris", "Concerto in F", and "Three Preludes for Piano"; Whereas Ira Gershwin won a Pulitzer Prize for the lyrics for "Of Thee I Sing", the first lyricist ever to receive such prize; Whereas Ira Gershwin composed the lyrics for major Broadway productions, including "A Star is Born", "Lady in the Dark", "The Barkleys of Broadway", and for hit songs, including "I Can't Get Started", "Long Ago and Far Away", and "The Man That Got Away"; Whereas George and Ira Gershwin collaborated to compose the music and lyrics for major Broadway productions, including "Lady Be Good", "Of Thee I Sing", "Strike Up the Band", "Oh Kay!", and "Funny Face"; Whereas George and Ira Gershwin collaborated to produce the opera "Porgy and Bess" and the 50th anniversary of its first perform­ ance will occur during 1985; Whereas George and Ira Gershwin collaborated to compose
  • Viagra Equivalent for Women

    Viagra Equivalent for Women

    Febuary 15, 2018 Notes from Bruce Message From the President, Joan Faucher Dear Singers, Please email Bern if you need a CD made. Specify your Thank you for a good rehearsal on 8 February. Sectional section. [email protected] rehearsals worked quite well last week and we will do the same The weekly newsletter is located on the Learning Tracks page so you can reference Bruce's instructions. this week. Please meet in the sanctuary to get music. We have Please save the following dates: copies of all the pieces we are performing on the May concert. Month of March In sectionals, we will work on the following compositions: Easter food drive for All Faith's Food Bank - The King and I Medley May 1 & 2, 2018 - Love is Love Giving Challenge (Our most Important fund Raiser) - Somewhere Saturday May 5, 2018 7:00pm - Tonight Spring Concert - Love Has Always Been Our Song Glenridge Performing Arts Center From memory: Sunday May 6, 2018 3:00pm Spring concert - Embraceable You Glenridge Performing Arts Center - Wind Beneath My Wings https://tylerclementi.org/ See you on Thursday, Bruce "These two are not two, love has made them one. Amo ergo sum! and by its mystery each is no less but more." During the month of March, Diversity will hold - Benjamin Britten a food drive for the Easter Holiday benefiting "All Faith's Food Bank". Get into those pantries and make your donation count! George and Ira Gershwin will always be remembered as the songwriting team whose voice was synonymous with the sounds and style of the Jazz Age.
  • Vintage Uke Music Revised 2020.Xlsx

    Vintage Uke Music Revised 2020.Xlsx

    9/20/2020 Title Folder 12 street rag !no covers a fool such as i (now and then there's) A A Lady Loves ‐ 1952 L A Man Never Marries A Wife ‐ 1951 M A Nickel Ain't Worth A Cent Today ‐ 1951 N A Picnic In The Park ‐ 1951 P A Sleepin' Bee ‐ 1954 S a very precious love !no covers a woman in love !no covers A Woman In Love ‐ 1955 W a you're adorable A abdul the bulbul ameer A Abie's Irish Nose ‐ 1925 A About A Quarter To Nine A absence makes heart grow fonder A accent on youth A ac‐cent‐tchu‐ate the positive A Across The Breakfast Table ‐ 1929 A Adam's Apple A Adelaide ‐ 1955 A Adios A Adorable ‐ 1933 A After a million dreams A after all it's you A After All You're All I'm After ‐ 1930 A After All You're All I'm After ‐ 1933 A After Business Hours ‐ 1929 A after i say i'm sorry A after i've called you sweetheart A After My Laughter Came Tears A After Tea ‐ 1925 A after you A After You Get What You Want A After You Get What You Want You Don't Want It ‐ 1920A After You've Gone A after_my_laughter_came_tears A ah but is it love A Ah But It Is Love ‐1933 A ah sweet mystery of life A Ah Wants To Die From Eatin' Possum Pie ‐ 1925 A Ah! The Moon Is Here ‐ 1933 A ah‐ha A ain't gonna rain new verses A Ain't Got A Dime To My Name ‐ 1942 A ain't it cold !no covers ain't misbehavin' A aint misbehavin vintage !no covers aint no flies on auntie A Ain't No Flies On Aunty A ain't no land like dixie A aint she sweet A Ain't That a Grand and Glorious Feeling ‐ 1927 A Ain't we carryin' on A Ain't We Got Fun A Ain't You Baby A ain't_misbehavin' A Ain't‐cha A alabama
  • José Serebrier George Gershwin

    José Serebrier George Gershwin

    JOSÉ SEREBRIER JOSÉ SEREBRIER GEORGE GERSHWIN (1898-1937) ARIADNE 5003 GEORGE GERSHWIN Historic GERSHWIN CENTENNIAL EDITION recording An American in Paris Leopold Godowsky III piano · Royal Scottish National Orchestra Piano Concerto in F 1 An American in Paris 18:45 3 Preludes · Lullaby Three Preludes (Gershwin-Serebrier)* 2 I Allegro ben ritmato e deciso 1:38 Historic Gershwin Centennial 3 II Andante con moto e poco rubato 3:37 Edition recording 4 III Allegro ben ritmato e deciso 1:20 Concerto in F for Piano & Orchestra 5 I Allegro 14:15 6 II Andante con moto 12:42 7 III Allegro agitato 7:11 8 Lullaby (Gershwin-Serebrier)* 7:47 Total Duration: 67:22 *First recordings – orchestrated & edited by José Serebrier Recorded at the Henry Wood Hall, Glasgow, on July 30 & 31, 1998 Recording Producer: Paul Myers Recording Engineer: Dave Harries Leopold Godowsky III piano Post Production: Bill Sykes, Black Box Music Original recording © and ℗ Dinemec Classics, 1998 Royal Scottish National Orchestra This CD release © & ℗ SOMM Recordings, 2018 Front cover: José Serebrier © Clive Barda Ariadne Front cover and page 3: George Gershwin, courtesy of Tully Potter Collection Design: Andrew Giles Booklet Editor: Michael Quinn © & ℗ 2018 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND José Serebrier conductor Ariadne DDD Made in the EU he première of the Rhapsody in Blue, Gershwin’s first concert work, in the Aeolian Hall concert Paul Whiteman billed as “An Experiment in Modern Music”, T on February 12, 1924, was the event that powerfully and solidly established jazz as a factor in concert music – and made Gershwin himself, who played the solo part, an international cultural hero.
  • Zu Ella Fitzgerald Vom 2.12.2019

    Zu Ella Fitzgerald Vom 2.12.2019

    Ella Fitzgerald Story auf Radio 700 vom Montag, den 2.12.2019, 18.55 - 21.00 Uhr Autoren: Klaus Huckert/Uwe Lorenz Einleitungsmusik: A Tisket, A Tasket Anmoderation: In der heutigen Sendung des Jazz-Cocktails wollen wir uns mit dem Star des Vocal- Jazz Ella Fitzgerald beschäftigen. Im 20.Jahrhundert prägte keine andere Stimme den Jazz so sehr wie die von Ella. Ihre Beinamen waren „The Queen of Jazz“ oder „The first Lady of Jazz“ bzw. auch „The first Lady of Song“. Zur Eröffnung haben wir bereits ihren ersten Millionen-Hit „A Tisket, A Tasket“ aus dem Jahr 1938 gehört. In der fast sechzig Jahren währenden Welt-Karriere nahm die Sängerin mehrere hundert Platten auf, erhielt 14 Grammys und eine Vielzahl an Ehrungen. Schnelle Tempi im Bebop-Gesang, melancholischer Grundton bei Balladen, mitreißender Groove bei Swing-Nummern und hochinteressante Scat-Einlagen kennzeichneten ihren Stil. Basis ihres Könnens war eine Genauigkeit in der Intonation und glasklare Töne, wie man sie heute selten findet. Ihr Repertoire umfasste den Swing, Bebop, Blues, Bossa Nova und Gospel. Musik aus dem genannten Repertoire (Swing, Bebop, Blues, Bossa Nova und Gospel) z.B. „Please don’t talk about it when I am gone“ (Swing“) CD „Count Basie/Ella Fitzgerald: The perfect Match“, „One note Samba“ (CD „Ella & Pass …Again“) Track 14, „St. Louis Blues“ (CD „Ella & Basie The Perfect Match Track 10), „Mack the Knife“ (Swing) (CD Ella in Berlin, (10er Pack REEL TO REEL) …….. Die Anfangsjahre von Ella Fitzgerald (Take 1) Ella Jane Fitzgerald – geboren 1917 in Newport News/Virginia, verstorben 1996 in Beverly Hills/Kalifornien -, hatte eine relativ schwierige Kindheit.