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The George Gershwin reader

Author: Robert Wyatt; John Andrew Johnson
Publisher: Oxford : Oxford Univ. Press, 2010.
Series: Readers on American musicians
Edition/Format:   Print book : EnglishView all editions and formats
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Named Person: Gershwin; Gershwin
Document Type: Book
All Authors / Contributors: Robert Wyatt; John Andrew Johnson
ISBN: 019532711X 9780195327113
OCLC Number: 699670032
Description: XIV, 354 Seiten : Notenbeispiele ; 24 cm.
Contents: AcknowledgmentsIntroductionPart I: Portraits of the Artist1: 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 Music39: Satire to Music40: George Gershwin41: Of Thee I Sing, Kaufman-Ryskind Musical Comedy Satire at the Music Box42: A Music Master Talks of His Trials43: From William Grant Still: A Study in Contradictions44: George Gershwin's 'I Got Rhythm' (1930)45: The Gershwin Myth46: George Gershwin as Orchestrator47: George Gershwin Plays His Second Rhapsody for the First time Here with Koussevitsky and Boston Orchestra48: Letter to Rose Gershwin49: George the Ingenuous50: Letter to Emily Paley51: Letter to Ira Gershwin52: The Future of GershwinPart V: Porgy and Bess53: From America's Folk Opera54: Selected Correspondence55: George Gershwin Arrives to Plan Opera on Porgy56: Porgy and Bess, Native Opera, Opens at the Alvin: Gershwin's Work Based on DuBose Heyward's Play57: 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 Wyatt59: From an interview by Robert WyattPart VI: Last Years: Hollywood (1936-1937)60: Hollywood - An Ending61: Gershwin Analyzes Science of Rhythm62: Radio Pays a Debt63: A Foggy Day64: Letters to Zenna Hannenfeldt65: Letters to Mabel Schirmer66: Letter to Emily Paley67: Letter to Henry Botkin 68: Letter to Rose Gershwin69: Letter to Rose Gershwin70: Letter to Irene GallagherPart VII: Obituaries and Eulogies71: Report in Variety72: George Gershwin73: Hail and Farewell: Career and Position of George Gershwin in American Music74: Poem75: Tribute76: Gershwin Left $341,089 Estate to His Mother; 'Rhapsody in Blue' Appraised at 'Greatest Value' and Opera Rights of 'Nominal Interest' to the Residue77: Letter to Rose GershwinPart VIII: As Time Passes78: Music by Slide Rule79: Gershwin on Gershwin80: Gershwin, Schillinger, and Dukelsky: Some Reminiscences81: Why Don't You Run Upstairs and Write a Nice Gershwin Tune?82: George Gershwin83: George Gershwin: yes, the sounds as well as the tunes are hisChronologySelected BibliographyCreditsIndex
Series Title: Readers on American musicians
Responsibility: ed. by Robert Wyatt and John Andrew Johnson.

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Reading The George Gershwin Reader yields fresh ideas, opening the door for further investigations * Evan Rapport, Music and Letters *

 
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