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UNIVERSITY OF FOR IMMEDIATE RELEASE OKLAHOMA PRESS 9780806164359.TIF BOOKNEWS An engaging biography of one talented person with two disparate musical personas Taking a Chance on Love The Life and Music of Vernon Duke By George Harwood Phillips When his friend George Gershwin persuaded Vladimir Dukelsky to change his name to Vernon Duke, what the music world already knew became apparent to the public at large—the man had two musical personas—one as a composer, the other as a tunesmith. One wrote highbrow music, the other lowbrow. Yet the two sides complemented each other. Neither could function without the other. Born and classically trained in imperial Russia, Vladimir Dukelsky (1903–1969) fled the Bolshevik Revolution with his family, discovered American popular music VOLUME 5 IN THE AMERICAN in cosmopolitan Constantinople, and pursued his budding interest to New York POPULAR MUSIC SERIES before his passion for classical music drew him to Paris, where the impresario Serge Diaghilev hired him to compose a ballet for the Ballets Russes. SEPTEMBER 2019 $24.95 PAPER 978-0-8061-6435-9 Taking a Chance on Love immerses us in Duke’s dizzying globe-hopping and genre- 272 PAGES, 6 X 9 swapping, as financial concerns and musical passions drive him from composing 18 B&W ILLUS. symphonies to writing songs, from brilliant successes to Broadway flops, and from BIOGRAPHY/MUSIC performing with classical performers to writing books and articles. Throughout, as he crisscrosses the landscape of American music, collaborating with lyricists such as FOR AUTHOR INTERVIEWS AND OTHER Howard Dietz, Ira Gershwin, and Sammy Cohn, the incomparable Vernon Duke PUBLICITY INQUIRIES CONTACT: emerges clearly from these pages: sometimes charming, sometimes infuriating, KATIE BAKER, PUBLICITY MANAGER always entertaining. UNIVERSITY OF OKLAHOMA PRESS TEL: 405 325 3200 Although Vernon Duke has entered the canon of American standards with such FAX: 405 325 4000 songs as “Taking a Chance on Love,” “I Can’t Get Started,” and “April in Paris,” Taking a Chance on Love [email protected] little is known about the composer with two personas. brings the intriguing double life of Dukelsky/Duke back into the spotlight, restor- AVAILABLE IN BOOKSTORES, ONLINE ing a chapter to the history of the Great American Songbook and to the story of BOOKSELLERS, AND OUPRESS.COM twentieth-century music. ORDER BY PHONE George Harwood Phillips is retired as Professor of History at the University of INSIDE THE U.S. 800-848-6224 EXT. 1 Colorado, Boulder, and is the author of The Tunesmith and the Lyricist: Vernon Duke, INTERNATIONAL 919-966-7449 Ira Gershwin, and the Making of a Standard. CALL CENTER HOURS: 8:30AM-5:00PM EST SIGN UP FOR NEW BOOK ANNOUNCEMENTS, SPECIAL OFFERS, AND MORE AT OUPRESS.COM THE UNIVERSITY OF OKLAHOMA IS AN EQUAL OPPORTUNITY INSTITUTION. OUPRESS.COM CONNECT WITH US WWW.OU.EDU/EOO.

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Boston Symphony Orchestra Concert Programs, Summer, 2005
Tanglewood sum, ; JAMES LEVINE MUSIC DIRECTOR m ^ ^* ml/ «o*<-^- -*»5i^^ i>iim T-. ORIGINS GflUCIW formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 41 3-298-0002 Stockbridge, MA 01262 urnmg lree Estates is pleased to offer an inviting opportunity in the Berkshires: [ Comforts ofHome] our exclusive community of fifteen [ Quality of Life ] tastefully unique homes. Classic New [ Sense England designs, abundant with of Community ] luxury amenities, are built with the discerning homeowner in mind. Each is majestically sited on private wooded acres along tranquil streets. Please schedule an appointment to explore our distinctive designs and the remaining lots available at Burning Tree Estates. For more information please call or visit Burning Tree Road, Great Barrington, MA BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty-Fourth Season, 2004-05 TANGLEWOOD 2005 g^± Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Ann M. Philbin, Robert C. Winters Paul Buttenwieser Thelma E. Goldberg ex-officio James F.
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Contact:: Helene Davis Public Relations [email protected] NEW YORK CITY CENTER 2016 ENCORES! SEASON Cabin in the Sky Music by Vernon Duke; Lyrics by John La Touche Book by Lynn Root ~ 1776 America’s Prize Winning Musical Music and Lyrics by Sherman Edwards Book by Peter Stone Based on a Concept by Sherman Edwards ~ Do I Hear a Waltz? Music by Richard Rodgers; Lyrics by StePhen Sondheim Book by Arthur Laurents Based on the play The Time of the Cuckoo by Arthur Laurents Season Begins February 10, 2016 New York, NY, May 11, 2015– The 2016 season of New York City Center’s Tony-honored Encores! series will open with Cabin in the Sky on February 10–14, 2016, followed by 1776 and Do I Hear a Waltz?. Jack Viertel is the artistic director of Encores!; Rob Berman is its music director. Cabin in the Sky tells the fable-like story of a battle between The Lord’s General and the Devil’s only son over the soul of a charming ne’er-do-well named “Little Joe” Jackson who, after a knife fight in a saloon, is given six months more on earth to prove his worth. With Cabin in the Sky, composer Vernon Duke, lyricist John La Touche, and librettist Lynn Root set out to celebrate African American achievement in music and dance, and created a wonderfully integrated score that blends hits like “Taking a Chance on Love” with authentic traditional gospel numbers and full-fledged modern dance pieces. The show opened on October 25, 1940 at the Martin Beck Theatre in a production staged and choreographed by George Balanchine and ran 156 performances.
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This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » January 24, 1999 MUSIC MUSIC; A Neglected Master's Haunting Consolations By BARRY SINGER THERE is something so improbably consoling about the sadness at the heart of the best Vernon Duke melodies. This redemptive afterglow could be a consequence of sheer melodic sophistication. Duke knew how to construct a song, elegantly, with surpassing craft and harmonic flair. Yet the earned wisdom behind the sadness in his music transcends flair and craft and goes beyond sophistication. It's not that the songs are even inherently unhappy. ''Autumn in New York,'' ''April in Paris'' and ''I Can't Get Started'' -- to name Duke's most identifiable trio -- inhabit an emotional realm uncommon in the American popular song canon, that of dry-eyed ballads of unusual poignancy. The melancholy induced by these songs, while hauntingly seductive, is never glum. Nor was Duke remotely a sad kind of guy. An aristocratic White Russian emigre turned Broadway songwriter, he seems to have had a rather good time of it all, dressing with notorious dash and, in a polyglot of languages, charming chorus girls and theatrical producers alike. Duke knew everybody, from his dearest friend, the Russian composer Sergei Prokofiev, to Picasso and Chanel, Balanchine and Jean Cocteau, and even an antic young serviceman whom Duke discovered during World War II, Sid Caesar.
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