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Ee;Fdllv.!Nfroduced • .Ffljolson IF1 .;;ee;fdllv.!nfroduced • .ffLJOLSON IF1 "S'lNBAD" dfthe {ifinter Garden Ne'iYork 6 T. B.HARMS llIND fRANCIJ". DAY & HUNTER W YORK 2 Swanee Words by . M"usio by 1. CAESAR GEORGE GERSHWIN Allegro moderato >' ,..... I - '- L.I >-~'.. ~. ~ ~.- ~ () ~'-- l---~ p ~ Pian f , ~ ~ .>-r--#.- · I"" ~-:..-/ :;j.~ -. ' -::: "'" I, mf I l -- ----- • , , ,I ' ' I've been a - way from you a long time_ I nev- er I ~ ,...., ~ 'I · • . ..----... 'a J ., . '-.J.' . ~~; mff ., "f ,- ~Er ~~ • ,::t. L.. f Id!mf ;I'H - N!Ulrl i ca ., ., • p - =4~ =4 ,>- ~.. be' for:, , • I .-6 =il ?o· , r . ~ thought I'd miss you so Some - how feel - o~ >~ 1'1 , ...--= .I >- >. .-6~ I: ..---.... Q"' .~ I ~r ~ ~ ~ f ~ 17~ ~ , !If ..... V' r' .~ Ar\ '~ >- -- I I -.... I : -- • f'" '. - ';> I, _.1_;' 1'1 I, - l • -- " I r , Your love was real Near you I lrng to be- - j i >- >>- >- .,....... / ---="'>- >----- , " I ! j ~ 3 is ~ ~ ~ .... II ~"'"11 +- L.I r dZ . '-..:-. 1I~ >F-- ~ 3f ====--- >- fi :::::- . I r-'1 >- --, >- ~ - >- ., ., >- >- D , "4 ("'~ >- ,- 5935 - 4 v ,I" Copyright AfCMXfX by T. B. Harms & Francis, Day & Hunter, N. Y. , All Right. Rc.ervcd International Copyright Secured '. 3 fl I m , , ~ • Hffi-' ~ I The birds are sing-ing It is song - t"Ime _,_ I The ban-jOl\ ~ , . '~ I ------- - tE:a- . l 7 7 "I ~~j ;:,..~ . ::::,.~ 11itf f vf t 8~;1 :t . -, - P "I "I •• • ~ '~ ~ ~ I , , , ! strum-min' soft and low I know that you Yearn for ~e :>~ :> :> :> :> :> .,.....;. fl I ~ ~ ,.....;; :1 ~ @) ,~ ~ ~ I ~' ~ ... I;::j'- j" ~r ~r ~ r ., lIr A ::;: ~ . I I - §;.. >- ' . J .. c- ;: :> > r - too Swan - ee You're clIll - ing me. -- - • fl Refrain . @) Swan' - ee How I love you How I love you My fl - - ~. ..----..... '-I ~rr ~ f'r r- lilt, 1~1- 7 -r .'Ift! "It " - .-;fi .• ~ D "I "I P "I "I >- '>....-- 5935 - 4 Swane. V 4 ~ l . , ., , , d ..~' .- ~ dear old Swan- ee- I'd give tile world to b~ n -- --.?j :> :> , @ .. C'.i "'-" ) ,l5' ~ r f~ - '~~ ., '~r - ..,; - ! sostJ___l\ ~ · 'I h. h · ., - - - ~ ~ .. I 1 '76 :> = ~ :> :> : - , 4J r r r .. r r r A-mong the folks in D-I-X-I - E- Yen know my ~~ ~ ::;> ~ :> - 11_ l~ (J " ... .I u ~ L 1 >- ,I -- ~- - .::;>::;» :> diflf. :::;:::::>'" ---- 'I~.J ---~,:J A. ~./I-~ .. '" L :> l. J I I · · , r- ........ I ::> , 1 :> :> J .. Mam - mY~8 Wait - ing for me ray-ing for me Down by the f) - - ,..-.. - t V ,~ trr -i~rr r- ;t ~t , < '1"'f - lfIJ. lift. lJ t · , '- .. p ., p ., > ::::- - -- ~ l --... - - '. , ) .- r I r , Swan-ee--- - The folks up north will see me no more_ When .' .>- 1 >r - ~ \~~ ." -. ~ .. TI "-' .. --" 1,- ~ ' 1J .>-- ... ~'- . ~ ~~ r r -:::::::. < r >~ :> = rF; .,..., - t J-11 I I t .. .. ~ ~ I I ,.. r~ l 1':,'1,1)J.)_4 Swanee t / 5 '(Spoken) 1'\ 1 1 - , - • r ""'---"" I go to the .Swan - ee shore- (I'll be )laP - Py .. I'll be hap - py) . ~ , ~ ,-... ;,' ~ r-- ,..... 0' 0 -, 0 -; '-> •0 ~ .... \ , ~ ~ :t.. ./:t . --±--- .. <- "I ::::::-~- , i :::r ,'I'\. l f ' ·0 \ 0 I~ ~ ~ - Trio '1'\ mp-f I I 0' 0 0 , - t! +!../ - r r r r • I - COID- Swan- ee Swan- ee I am ing back to 0' . r'l ,.- .' 0 -- 0 . 0 4!J ~, ., 7 ~ ~ It- ::--....~ i,. ,~ ~I " n r -UU:> ::> f 'uU- dolce '. '0 mp-f ::> ::> ~ad ::=-- =-- ::::- :::::- :>-,.---....." I .......... rour · . '~ . .#, 0 ~t' ~' ':' -;j:' fl I I I I ' . • . ..- ..- ---.-." f.. r - ...:-,./ --- Swan-ee Mam-my Mam-my- -- 'I ~ ~ - . ---I 0 • • ..- ....' ;:~~~ ., .=- i p- -V',tT ~ :::::-- .' r ~ ::> f UtI ===- ===- · . ~ ~ •I -0 :;t!. :j' ~ d' •. 7 II f} l I . 1 1 2 • .- t! , I love the old folks at home. A , home.--- --- ------- ~ I'} I • - .---.... - ...--... 1":\ . ·• I' ~., ~-- ~ ~~., P~" .:t -- . v .. ~t-!'~J ~ :> , f - :::- lift II .\k~ - :::=-- A A A ___ .ir:. ~ · ·• • ~ 11~ ~ • • - 4~ ... • - 111 :>- :> - 8 8 5935 - 4 Swanee Lef! All Alone Again Blues \\'fjrds by Music lIy A~!'iE CALDWELL,,- JEHOME KERN SONG SUCCESSES fROM a .~E·--~-Pl~~~~~~i J Ip lp P p P P ANNE CALDWELL I ha"c the blues,_ E. ',y time my hub· by leaves me I have the blues_ E. " since b. mar- rjed m" I JEROMENDKERNS .,'=:: = " NEWEST MUSICAL COMEDY ~'T"E J I J@ MIG"T BOAT' I haWl the blues _ Be - cau"e it PCC'"CS me to bo PRODUCED BY sure ha,'c the blues_ Be • cause r ;l used to ha,-c C/-\ARLES B.DILLINGHAM J Irl\'?""_ ------ -- I:::;: v..~hose : Baby Are You? Duet '"lI.'o,dl by MUllo ~, -- AN"lfE CfoLD\\'~ JEROlol£ KEItIl lert her.., flat= JU~1 like =bump_ b'" • • by ... you, d••t, good time, .11 time, E. Y timc_ '" milht " Ily, "to tOll. d••t, \~~~-~~~~~ 1'-_.. Conr'!:": NCNXX by T. B. HO ......J.! Co.,:.'. I', ,IlL Il.JlI"hl~ ao,tntd jl':on'~ll~nal Copyrlltllt Sccured " 'Take },'i.C'! • r Wanl 'To )lullo ~T . Don\. "You Duct J£.llJ)\& J;.&R~ ,hi _ ..... 1\<> I.".. oy _ 'r, <"rI, Wboll OWII yo"r !~:~ C"'~"I.r J/CJt>:~ I, , # II..... c•. ,II.r. ~.."... ",,,.,,,,,,, e.",,, . A. Heart F. Or Sale, • o C'n."" /If.-lUS I. 1'.',11 C.,I'.'. ~II ~'.~,. ~ ...".. '"'" 1 c.., ...... So......
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  • Program Notes
    “Come on along, you can’t go wrong Kicking the clouds away!” Broadway was booming in the 1920s with the energy of youth and new ideas roaring across the nation. In New York City, immigrants such as George Gershwin were infusing American music with their own indigenous traditions. The melting pot was cooking up a completely new sound and jazz was a key ingredient. At the time, radio and the phonograph weren’t widely available; sheet music and live performances remained the popular ways to enjoy the latest hits. In fact, New York City’s Tin Pan Alley was overflowing with "song pluggers" like George Gershwin who demonstrated new tunes to promote the sale of sheet music. George and his brother Ira Gershwin composed music and lyrics for the 1927 Broadway musical Funny Face. It was the second musical they had written as a vehicle for Fred and Adele Astaire. As such, Funny Face enabled the tap-dancing duo to feature new and well-loved routines. During a number entitled “High Hat,” Fred sported evening clothes and a top hat while tapping in front of an enormous male chorus. The image of Fred during that song became iconic and versions of the routine appeared in later years. The unforgettable score featured such gems as “’S Wonderful,” “My One And Only,” “He Loves and She Loves,” and “The Babbitt and the Bromide.” The plot concerned a girl named Frankie (Adele Astaire), who persuaded her boyfriend Peter (Allen Kearns) to help retrieve her stolen diary from Jimmie Reeve (Fred Astaire). However, Peter pilfered a piece of jewelry and a wild chase ensued.
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  • 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.
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  • Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log On, Get Your Coffee, Listen, Relax
    Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log on, get your coffee, listen, relax. • “I Got a Crush on You” recorded by Nat Adderley in 1960 on Work Song. Written in 1928 for Treasure Girl. • “Nice Work If You Can Get It” recorded by Sarah Vaughn in 1950 on Sarah Vaughn with George Treadwell and his All Stars. Written in 1937 for Damsels in Distress. • “Isn’t It A Pity” recorded by Cheryl Bentyne in 2010 on The Gershwin Songbook. Written in 1933 for Pardon My English. • “I Loves You, Porgy” recorded by Billie Holiday, accompanied by Bobby Tucker. Written in 1935 for Porgy & Bess. • “Let’s Call The Whole Thing Off” recorded by Ella Fitzgerald and Louis Armstrong with the Oscar Peterson Trio in 1957 on Ella and Louis Again. Written in 1937 for Shall We Dance. • “They Can’t Take That Away From Me” recorded by Frank Sinatra in 1962 on Sinatra and Swingin’ Brass. Written in 1937 for Shall We Dance. • “Do It Again” recorded by Beverly Kenney accompanied by Ellis Larkins in 1958 on Beverly Kenney Sings for Playboys. Written in 1922 for The French Doll. • “Love is Here to Stay” recorded in 1955 by Carmen McRae. Written in 1937 for The Goldwyn Follies. • “My One and Only” recorded in 1950 by Ella Fitzgerald with Ellis Larkin on Ella Sings Gershwin. Written in 1927 for Funny Face. • “I Got Rhythm” recorded in 1964 in Sweden by Sarah Vaughn. Written in 1930 for Girl Crazy. Class Begins at 930AM The Gershwins Part 1: “I Got Rhythm” Course Agenda showing the music 1.
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  • Fascinating Rhythm”—Fred and Adele Astaire; George Gershwin, Piano (1926) Added to the National Registry: 2004 Essay by Kathleen Riley (Guest Post)*
    “Fascinating Rhythm”—Fred and Adele Astaire; George Gershwin, piano (1926) Added to the National Registry: 2004 Essay by Kathleen Riley (guest post)* George Gerswhin Fred Astaire Adele Astaire In 1927 George Gershwin told an interviewer that, in order to achieve truth or authenticity, music “must repeat the thoughts and aspirations of the people and the time.” “My people are Americans,” he said, “My time is today.” In London the previous year, Gershwin and the stars of “Lady, Be Good!,” Fred and Adele Astaire, made a recording of “Fascinating Rhythm,” a song that seemed boldly to proclaim its modernity and its Americanness. Nearly a century after its composition we can still hear the very things playwright S.N. Behrman experienced the moment Gershwin sat down at a party to play the piano: “the newness, the humor, above all the rush of the great heady surf of vitality.” What is also discernible in the 1926 recording--in Gershwin’s opening flourish on the piano and in the 16-bar verse sung by the Astaires--is the gathering momentum of a steam locomotive, a hypnotic, hurtling movement into the future. Born in 1898 and 1899 respectively, George Gershwin and Fred Astaire were manifestly children of the Machine Age. Astaire was born deep in the Midwest, in Omaha, Nebraska, where his earliest memory was “the rumbling of the locomotives in the distance as engines switched freight cars in the evening when we sat on the front porch and also after I went to bed. That and the railway whistles in the night, going someplace.
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  • Porgy and Bess
    PORGY AND BESS by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin Directed by Charles Newell Music Direction by Doug Peck Artistic Consultant Ron OJ Parson May 12 – July 3, 2011 at Court Theatre Kittiwah Island, looking for Bess. All of a sudden, Clara spies the overturned fishing boat of her husband Jake outside the window. Fearing for his life, Clara hands her infant baby to Bess and throws herself out the door into the storm. Bess begs for one of the men to follow her; Crown volunteers, but only after taunting Porgy, who is unable to go. The next day, the deaths of Jake and Clara are mourned by the residents of Catfish Row. The care of their baby has fallen to Bess, who sings him a lullaby. After night falls, Crown returns to seize Bess, but Porgy is waiting there to stop him. They fight, and Porgy kills Crown, against all odds. The next day, the local detective arrives to inquire about the murders of Crown and Robbins, and the residents collaborate to protect Porgy. The police take Porgy in anyway, ordering him to identify Crown’s body. Once he is gone, Sporting Life takes his opportunity to persuade Bess to come with him to New York, convincing her that Porgy will be imprisoned. He forces drugs on her and extols the virtues of the city. She refuses, but Sporting Life waits patiently for her to give in. A week later, Porgy returns from prison, bearing gifts he bought with the craps money he earned in jail.
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  • On Site Opera & Harlem Opera Theater Invite You to Take Cast
    ! ON SITE OPERA & HARLEM OPERA THEATER PRESENT GERSHWIN’S Blue Monday! ! PROGRAM MENU: Cast, Production Team and Orchestra | Program Notes | Artist Bi0s About On Site Opera | About Harlem Opera Theater About The Harlem Chamber Players | Special Thanks On Site Opera &more Harlem information: Opera osopera.orgTheater invite you to take On Site Opera & Harlem Opera Theater invite you to take a trip back to the roaring twenties as they present George Gershwin’s Blue Monday at the Cotton Club. Blue Monday A JAZZ OPERA BY GEORGE GERSHWIN LIBRETTO BY BUDDY DESYLVA JUNE 18-20, 2013 | THE COTTON CLUB 7PM: DANCING & COCKTAILS | 8PM: BLUE MONDAY CAST: IN ORDER OF VOCAL APPEARANCE MIKE, THE CLUB OWNER CLAYTON MATHEWS SAM, A CLUB EMPLOYEE ALVIN CRAWFORD TOM, THE CLUB HEADLINER LAWRENCE CRAIG VI, JOE’S GIRLFRIEND ALYSON CAMBRIDGE JOE, A GAMBLER CHASE TAYLOR DANCERS: SARITA ALLEN ELIJAH ISHMAEL AVRAHAM NICCO ANNAN AZAMA BASHIR MAHALIA LEOLA MAYS RAPHAEL THOMAS PRODUCTION TEAM: CONDUCTOR GREGORY HOPKINS STAGE DIRECTOR ERIC EINHORN CHOREOGRAPHER GEORGE FAISON COSTUME DESIGNER CANDIDA K. NICHOLS LIGHTING DESIGNER SHAWN KAUFMAN HAIR & MAKE-UP DESIGNER SHANNON HARRINGTON PRODUCER JESSICA KIGER FIGHT COORDINATOR SHAD RAMSEY ASSISTANT DIRECTOR AUDREY CHAIT PRE-SHOW DANCE COORDINATOR NATALIE DAVIDZON Orchestra: THE COTTON CLUB ALL STARS FLUTE/TENOR SAX: JAMES STEWART OBOE/ALTO SAX: ED PAZANT CLARINET/ALTO SAX: CRIS HEMMINGWAY TENOR SAX: JOHN SIMON BASSOON/BARITONE SAX: RAY JOHNSTON TRUMPET I: AL PAZANT TRUMPET II: MAC GOLLEHON TROMBONE I: TIM WILLIAMS TROMBONE II: ROBERT STRINGER PIANO: NORIKO KAMO BASS: STAN THOMPSON GUITAR: SOLOMON HICKS DRUMS: ELI FONTAINE THE HARLEM CHAMBER PLAYERS: VIOLIN I: MONICA DAVIS VIOLIN II: CHARLENE BISHOP VIOLA: ADAM HILL CELLO: LAWRENCE ZOERNIG Please be aware that live gunshots are used in this production.
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  • A Gershwin Centennial Celebration
    be nnington c oll e ge pres e nts A GERSHWIN CENTENNIAL CELEBRATION F RIDA V SATURDA V SUNDAV DECEMBER II - 13TH, 1998; 8:00PM MATINEE SATURDA V, 2:00PM I GOT RHYTHM EXCEPTIONAL YET LESSER-KNOWN PIECES B Y GEORGE GERSHW IN SusAN A. GREENWALL WoRKSHOP AMY WILLIAMS AND ALLEN SHAWN PIANO THA T S w EET AND L ow DowN T wo W A LTZES INC IMPROMPTU IN T WO KEYS · PRELUDE (MELODY #17) I G o T RHYTH M V ARIA TIONS (1930) WITH BRUCE WILLIAMSO/'.J PLAYING GERS H W IN STANOARDS ON THE UPRIG HT R EFR E SHME NTS AVAILABLE BLUE ,.. ·MoNDAY BY GEORGE GERSHWIN . MJsic DRECTCP ANJ C~TCP 8TAGE DRECTCP ANJ CosTUvE DESIGI'ER IDA FAIELLA DANIEL MCHAELS~ ScEi'Jc DES!Gi'ER L.JGI--rrNG DESIGI'ER PETER SEWARD MCHAEL GIANNITTI ~1--ESTPAL REALIZA TlON PRooucTJON 8TAG E MANAG~ PHLIPSALATHE STEVEESPACH CAST (IN ORDER OF APPEARANCE) M IKE M ATTHEW P ILLISCHER SAM R YAN B AROLET-FOGARTY --JoE D u FFY H AVENS T oM M ATTHE W F oLLETTE V1 CAMILLE H ARTMAN D ANCERS C A YLI C AVACO ANNA ZIMMER KELLEY B RYANT 0:::<CHESTRA P iANO NATHAN --JEW ViOLIN I B ARRY FiNCLAIR ViOLIN II BRONWE N D AVIE S -MASON ViOLA S ARA CRONAN CELLO I MICHAEL CLOSE CELLO II MELISSA COLLINS B ASS P HILIP S ALAT HE T ENOR SAX B RUCE WILLIAMSON A LTO SAx --JENNIFER D ovLE-BEcK T RUMPET R oNALD ANDERSON PERCUSSION 0 ESSE0LSEN At the centennial of his birth, Brooklyn-born composer George Gershwin remains one of America's most intriguing cultural figures.
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  • Do It Again: Sequences in Gershwin and Kern's Popular Songs
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 7 Issue 1 Article 4 May 2014 Do It Again: Sequences in Gershwin and Kern’s Popular Songs Maxwell Ramage Indiana University Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Composition Commons, and the Music Theory Commons Recommended Citation Ramage, Maxwell (2014) "Do It Again: Sequences in Gershwin and Kern’s Popular Songs," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 7 : Iss. 1 , Article 4. Available at: https://trace.tennessee.edu/gamut/vol7/iss1/4 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. DO IT AGAIN: SEQUENCES IN GERSHWIN AND KERN’S POPULAR SONGS MAXWELL RAMAGE mericans George Gershwin (1898–1937) and Jerome Kern (1885–1945) both A succeeded as Broadway composers but began as “song pluggers” on New York’s Tin Pan Alley.1 Their popular-song output, however, was far from hackwork; indeed, their chromatically inflected, extended tertian harmonies enriched the expressive palette available to song composers at large.2 Gershwin and Kern seem to have influenced one another: Gershwin idolized the elder composer3 and stated that his early songs “paid [Kern] the tribute of frank imitation.”4 Conversely, Howard Pollack hears in Kern’s song “Whip-Poor-Will,” for example, suggestions of Gershwin’s “From Now On.”5 In view of the special regard in which Gershwin held Kern, I will compare and contrast their popular songs.
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  • The Music Center's Study Guide to the Performing Arts
    MUSIC TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA) ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY Title of Work: offered both Nice Work if You Can Get It, featuring Variations for Piano and Orchestra: I Got Rhythm (1934) music by Gershwin, and Porgy and Bess, winner of the Creator: 2012 Tony Award for Best Revival of a Musical. George Gershwin (1898-1937) About the Artwork: Background Information: The term ‘variations on a theme’ means just what it implies. George Gershwin, celebrated American composer and Composers use their creative skills and musicianship pianist, was born in Brooklyn and grew up in to change a melody, several times, each version introducing Manhattan’s East Side neighborhoods. When his parents interesting and clever ideas, while maintaining the basic bought a piano ostensibly for brother Ira, George character of the melody. Gershwin’s Variations employs surprised his parents by playing it. Thus began his changes in rhythm, dynamics, tempos, instrumentation, inroad into the world of music. His first professional job tone color and styles. The melody always retains its basic was that of a ‘song plugger,’ at age 16, in Tin Pan Alley. rhythmic motif. At that time (1914), publishing houses used pianists to play new music as a way of advertising their new songs Creative Process of the Artist or Culture: to the public. Although George was among the best According to Encyclopedia Britannica, Gershwin ‘pluggers,’ his employers ignored his early attempts at “created a new type of urban American music.” The composing.
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  • GEORGE GERSHWIN Whiteman That He Would Write a Born: September 26, 1898 Concerto for His Band to Perform
    “Andante” From Rhapsody in Blue GEORGE GERSHWIN Whiteman that he would write a Born: September 26, 1898 concerto for his band to perform. Died: July 11, 1937 One morning in January, 1924, he read in the newspaper that Paul George Gershwin was a 20th Whiteman’s band concert was century American composer born going to feature a jazz concerto in Brooklyn, New York. He taught by George Gershwin. The concert himself to play the piano at a was just a month away! George friend’s house by following how began writing immediately, using the keys moved on a player piano. the popular jazz style that was His family finally got their own also part of his Broadway works. piano when he was 12 years old, On the train to Boston for another and George surprised everyone by performance, he wrote the sitting down and playing the songs melodies and rhythms. He later he had learned by himself. said the bumping of the train was his inspiration for the rhythmic George liked to compose both piano parts. It took Gershwin only classical and popular music and was three weeks to write the entire able to put the two together like no Rhapsody in Blue. He performed other composer. His most famous the piano part himself at the Paul work, Rhapsody in Blue, was Whiteman Band concert on written in 1924. Gershwin also had February 12, 1924. a hit show on Broadway that same year. Gershwin also wrote the opera Porgy and Bess and several more Perhaps that’s why he almost forgot classical works during his career.
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  • Influences on Gershwin
    Irving Berlin born Israel Isidore Baline Irving Berlin was born in Tyumen, Russia, on May 11, 1888, and immigrated to New York as a child. He would become one of the most popular songwriters in the United States, with hits like "Alexander's Ragtime Band," “God Bless America,” " Blue Skies,” “What’ll I Do" and "White Christmas." Berlin's film and Broadway musical work included Puttin’ on the Ritz, Easter Parade and Annie Get Your Gun. He died in New York City on September 22, 1989, at age 101. Irving Berlin was born Israel Baline on May 11, 1888, in the village of Tyumen, Russia. His family fled to escape the region's persecution of the Jewish community and settled in New York City in the mid-1890s. As a teen, Baline worked as a street singer, and by 1906 he had become a singing waiter in Chinatown. His first published tune was 1907's "Marie From Sunny Italy," with Nick Nicholson penning the music. As the lyricist, Baline's name was misspelled as "I. Berlin" on the sheet music. He decided to keep the name, becoming Irving Berlin • He group up in a home in lower Manhattan where Yiddish was the primary language spoken in the home • Most of his compositions were written using the 32-bar American Song Form Having a similar cultural background and upbringing, he served as a role model to both Ira and George Gershwin Musical Example: – Cheek to Cheek YIDDISH THEATRE & TIN PAN ALLEY INFLUENCES • George grew up around the Yiddish Theater District • They frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra • At the age of 15, Gershwin found his first job as a "song plugger" for Jerome H.
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