Book Description
This comprehensive biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music. Gershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. Howard Pollack draws from a wealth of sketches, manuscripts, letters, interviews, books, articles, recordings, films, and other materials--including a large cache of Gershwin scores discovered in a Warner Brothers warehouse in 1982--to create an expansive chronicle of Gershwin's meteoric rise to fame. He also traces Gershwin's powerful presence that, even today, extends from Broadway, jazz clubs, and film scores to symphony halls and opera houses.
Pollack's lively narrative describes Gershwin's family, childhood, and education; his early career as a pianist; his friendships and romantic life; his relation to various musical trends; his writings on music; his working methods; and his tragic death at the age of 38. Unlike Kern, Berlin, and Porter, who mostly worked within the confines of Broadway and Hollywood, Gershwin actively sought to cross the boundaries between high and low, and wrote works that crossed over into a realm where art music, jazz, and Broadway met and merged. The author surveys Gershwin's entire oeuvre, from his first surviving compositions to the melodies that his brother and principal collaborator, Ira Gershwin, lyricized after his death. Pollack concludes with an exploration of the performances and critical reception of Gershwin's music over the years, from his time to ours. ... Read more

Customer Reviews (3)

The Definitive Biography
It is rare for an artist to compel one to read his/her biography just because he is a master at what he does. (Who wants to read the life story of Jack Nicholson?) Gershwin is an exception. His writings, compositions, the conditions in which he prepared to write his concerto in F - all these incite curiosity, not so much because they are artistically great as much as because they are great on a technical level as well. How could a young tin-pan alley composer have acquired such skill?

Of course it's a matter of artistic snobbery to think that one who hasn't had an early and expensive education in a world class conservatory could not become a great classical composer, just as much as it is unrealistic to think that Gershwin came from total obscurity. Pollack answers all my questions about Gershwin. Pollack follows the recent trend of music biographers in splitting Gershwin's life and music into separate groups. This is okay, but I think the book would have been more readable if the chapters on his music and the chapters on his life were chronologically interspersed among themselves. That's not a big complaint, however, and I don't think a better Gershwin biography can or will be written.

Genius writes about genius
We usually apply the term genius to the subject of a biography. With the writing of Howard Pollack, one can also apply that term to the biographer.

When I first heard that Pollack was at work on a biography of Gershwin, I was saddened to think that he would be devoting his time to someone who had been the subject of so many biographies. I thought, what else was there to be said about Gershwin, but when I recalled the balanced and thoroughly considered approach he brought to his biography of Copland, I was curious to read what he would write. Not only was I not disappointed, I was overwhelmed.

Pollack does not question the actions of his subjects, he reports and tells a story, leaving the reader to make his or her own judgements. There is no attempt to sensationalize anything as he lets the facts speak for themselves. Pollack treats his subjects with the greatest respect without losing sight of their humanity. He brings great dignity to his writing and to his subjects.

His use of the language is transparent. You are never slowed down by his words. When he writes about music, Pollack has a remarkable ability to engage both the musician and non-musician alike. As with his volume on Copland, you sense he knows the music so well that he can intuit what the composer intended with each new work. He seeks out so much of the related material one would think he has devoted his entire life to the study of his subjects. You are aware of the detail, but not overwhelmed or encumbered by it.

I found the quotes from Michael Feinstein to be very informative. Feinstein, is not only the great exponent of popular music of the tradition of Gershwin, Kern, Berlin, et al; he is also one of the most informed in the music of that period. The time Feinstein spent as Ira Gershwin's assistant lends credibility to his perspective and recollections, and adds great insight to both the humanity and the music of Gershwin.

This volume is as close to an encapsulation of Gershwin's life and works as one could hope to find in words.

THE Gershwin study
Gershwin buffs, run, don't walk to get this book. Pollack has written the definitive study of both "The Life" and "The Work," as per his two fat sections.

Pollack's book is, for one, the first Gershwin bio that takes advantage of the discovery of mountains of original orchestra parts for Golden Age musical theatre scores in a Secaucus warehouse in the early eighties. As such, Pollack analyzes Gershwin's theatre scores closely just as classical music scholars can attend to Mozart or Haydn's works.

Earlier bios could only address the scores largely on the basis of the songs from each score that happened to be published as sheet music, with only a handful of the scores then existing as full piano-vocal scores or as latter-day abridged and heavily adapted recordings. But over the past two decades, most of Gershwin's significant scores have been recorded in full from the discovered materials, such that via these recordings as well as examining the original materials himself, Pollack can address the work as it was presented when it was new, i.e. chorus numbers, character songs not published as sheets, incidental music, etc. Given that musicals constituted the bulk of Gershwin's output in his short life, this alone makes Pollack's book invaluable.

In addition, some Gershwin bios have been written by people focused on pulling him down, devoted to revealing him as an undereducated, boorish parvenu (i.e. the ones by Charles Schwartz and Joan Peyser). Pollack's sleuthing and interviews conclusively demonstrate that these evaluations were incorrect: Gershwin pursued serious musical training throughout his life, it shows in his work, and socially, he was a beloved, charming person who was deeply mourned at his death.

Pollack has truly done his homework, such that just about any question one might have about Gershwin is exhaustively answered. For each show he chronicles not only the score and its critical reception in New York, but also its London and even Australian versions if there were any, all of the revivals across the US, and its recordings -- and he does this even starting with the obscure early efforts. He is equally thorough re Gershwin's concert music.

It should be said that those seeking further engagement with the raison d'etre of Joan Peyser's THE MEMORY OF ALL THAT, the story that Gershwin fathered a love child with a chorus girl and paid him and his mother off to keep it quiet, will not be satisfied. Pollack briefly addresses objections to that thesis from some quarters since Peyser's book was published -- but, in my view, neglects the rather damning facts that 1) said love child looks exactly like Gershwin and 2)was supported in his claim to have made regular visits to Gershwin's apartment by none other than Gershwin's valet. As such, one must consult various sources pre- and post-Peyser to come to conclusions about that issue. One suspects that Pollack, having been granted interviews from surviving keepers of the Gershwin flame, opted on that particular subject to step around giving offense. He is not to be faulted for this.

It should also be said, however, that inevitably of a work so dazzlingly complete, this book is not one most people would want to read from front to back. It is, in its way, a reference book set in prose. There are times when Pollack seems almost obsessive -- such as bringing vast study to bear upon locating the purchase by Gershwin's parents of a piano in precisely late 1910, or letting us know (based on a chance message from abroad) that OH, KAY played in translation in Sweden, or informing us via close examination of the original arrangement of RHAPSODY IN BLUE -- not later arrangements, but the original one, mind you -- that one player doubled on bass and tuba.

But this degree of obsession is what real scholarship is, and though for most it will be a book to jump around in than to read page for page, Pollack has given us an authoritative masterpiece. I am in awe of the man, and happy to have this one on my shelves forever. ... Read more

Book Description
The story of arguable America's most famous composer. ... Read more

Customer Reviews (2)

"A Musical Genius, Without A Doubt"
"This young fellow has the spark of musical genius, which is definite in his serious moods, he has the fire of originality. I really believe that America will at no distant date honor him for his talent and that when we speak of American composers, George Gershwin's name will be prominent on our list." ~ Beryl Rubenstein, concert pianist and faculty of the Cleveland Institute of Music, from an interview in 1922 ~

This book, "George Gershwin: His Life & Music" by Ean Wood is one of the most interesting and informative books ever written about the composer's musical career as well as his short but so remarkable life. This book gives details about his family, his first job as a pianist/song plugger at Jerome H Remick & Co., his life in the entertainment world, his most notable Broadway shows, and his most famous masterpiece and an excellent work of art, "Rhapsody In Blue," which he composed in ten days.

It has been noted that Jerome Kern was the one who inspired George Gershwin to switch from pop songs to Broadway musicals. Irving Berlin, a brilliant songwriter himself was also an inspiration to Gershwin, who was born with two supreme gifts - the ability to write memorable tunes and an instinct for setting them with rich and unexpected harmonies.

Gershwin's success as a composer comes from his being passionate about music, his obsessive drive to create music, his swift musical development, his keen listening habits, his love of piano playing, his love for classical concerts, his continuous search for musical knowledge, his love of listening to music of every genre, and most of all his excellent musical instinct. He was revered and adored by his music teacher, Charles Hambitzer, who described him as a musical genius, without a doubt.

"George Gershwin made the piano do things for him ... not only he played what was written, he was improvising all the time. He could make the piano laugh, make it sad, he loved the keys, he loved to experiment. He was original." ~ Mabel Pleshette, friend ~

What I admired most about Gershwin apart from his wonderful music is his love of painting. His art mentor was his cousin, Henry Botkin, a respected painter and art connoisseur who gave him advice in choosing paintings. Gershwin had an incredible collection of modern art in America. Some of his favorite painters are also my very own favorites, i.e. Marc Chagall and Pablo Picasso. He had tried his creative hands on painting and portraiture was always his specialty. Somebody had told Gershwin at a dinner party that "he never needs to write another note, because he could make a fortune with his palette and brush." One lady asked him: "Isn't it amazing that one man should possess a genius for two of the arts?" But to him, painting is more a mere pastime. Writing music was his first and foremost love.

He was also portrayed as someone who "in many ways led a spartan existence." He rarely drank and smoked cigars in moderation. He was like an athlete and had always liked to keep fit. The permanent fixtures in his apartment were a small gym, a punch ball, a rowing machine and a dartboard. Not to mention of course a small silver upright piano that was a gift to him.

Gershwin's circle of close friends includes writers, composers and lyricists like Vernon Duke, Arthur Kober and Howard Dietz. They were called the "Paley Salon." They meet regularly every Sunday for a dinner at Gershwin's apartment and discussed art and music. Oscar Levant, whose hero was Gershwin, also became a prominent member of the "Paley Salon." He also recorded "Rhapsody In Blue" so beautifully and he put his heart completely to it and giving it a whole range of feelings. When the record was released, he waited for a feedback from Gershwin and when he didn't hear from him, he took the initiative to call him. Gershwin asked him to bring the record for him to listen to and after listening to it, the verdict was, "I like mine better."

"No man can be great unless he loves music."~ Max Levant (father) as told to Oscar Levant (son) ~

Although Gershwin died young at the age of 38, he made an incredible mark in the history of audio visual arts - writing good music and painting. After his death, 37 of his original paintings were exhibited at a one-man-show at the Harriman Gallery in New York, as one of his wishes. He had written over 1,000 songs for theatre and motion pictures and about 40 musical comedy scores. His music is timeless and will be heard and appreciated by every generation.

This is one of the best ever biographies I've read and I wholeheartedly recommend it.

"George Gershwin died on July 11, 1937, but I don't have to believe it if I don't want to."~ John O'Hara ~

Just the facts
I'm not a musicologist or a Gershwin expert, but I was hoping to find a bio about him that would really enthrall me.This one didn't, but I'm not sure any of the ones available about him would.Chronologically tracing his life and works, this book summarizes major plots, themes, and players in a fairly cut and dried fashion.To a Gershwin newcomer, all the words start to run together after awhile, and I would imagine that a Gershwin fan might find all the recaps a bit trying. Wood does give some interesting tidbits along the way, like how Gershwin and Ellington collaborated without ever managing to exchange a word in their lifetime, but you'll have to wade through the summaries and what-happened-whens to get to them.If you're looking for a good biography to curl up with, I couldn't recommend this one. If you're specifically looking to learn about Gershwin, though, this may be as good a place to start as any.Gershwin doesn't seem to have been a well-documented (or documenting) character, despite his celebrity.Given that, Wood's work may do as comprehensively concise a study as one could hope for. ... Read more

Book Description
Presents a biography of George Gershwin ... Read more

Customer Reviews (2)

Another Great Composer Biography
This is a great representation of George Gershwin's life.A must have for every elementary school library.It has beautiful black and white and color pictures along with cartoons enhancing the story.Hyper-sensitive schools and parents may be shocked at the first photo of the book which has Gershwin sitting at the piano with a cigar in his mouth.If everyone can get past that picture by reminding children that this was before people knew that smoking was bad for your health, then you can enjoy this great biography.

Interesting and Enjoyable
This is one in a wonderful series of books intended to introduce young readers to the lives of famous composers. The story of George Gershwin not only tells about his life, but also gives children a feel for the time helived in. Venezia uses details about Gershwin as a child to draw youngstersinto the story. They can empathize with the young George who is seen as a"nerd" by his peers, because of his love for music. Yet he stillenjoyed sports, particularly roller skating. As always, Venezia'sillustrations are wonderful and I particularly enjoyed the photographs andartwork that accompanied them. All the parts come together to give childrenan interestingand enjoyable pictureof the man and his music. ... Read more

Product Description
An American in Paris * Bidin' My Time * By Strauss * Embraceable You * Funny Face * Isn't It a Pity * I Got Rhythm * In the Mandarin's Orchid Garden * Maybe * M y Cousin in Milwaukee * Slap That Bass * Swanee * They All Laughed * Love Is Sweeping the Country * High Hat and many more. ... Read more

Customer Reviews (2)

Summertime
I am not a musician and so I cannot comment on what is really the heart of this work, the sheet music, its arrangements etc.
I would however say that it is a pleasure to look at the lyrics of the great Gershwin songs. And it is too a great pleasure to hum in mind and heart the tunes which still keep a lot of people humming and hoping in the world.
The Gershwins were the greatest brother team music ever knew.
Ira later on worked with many other first- rate composers and was a master of writing lyrics.
But it is the great George Gershwin taken from us early whose music seems to define not simply a whole era ofmusic, the hope of jazz, and classic combined in a new folk popular swinging
and refined elegance.
The American soul for all time.

GREAT GERSHWIN!
This is one tremendous find! THe Gershwins wrote some very memorable tunes, and the piano arrangements (also includes vocals and guitar chords) are lush and exquisite! I have been looking for a book of Gershwin for piano awhile now and this is PERFECT! Lots of fun and pleasure, though it is not "EASY PIANO". Moderate ability is required, but you can always fake it by playing the chords and melody line. I love it! ... Read more

Product Description
A collection of the most famous compositions by George and Ira Gershwin. Phrase markings, articulations, fingering and dynamics have been included to aid with interpretation, and a large print size makes the notation easy to read. Titles include: Bidin' My Time * But Not for Me * Embraceable You * A Foggy Day * I Got Rhythm * I've Got a Crush on You * Let's Call the Whole Thing Off * Love Is Here to Stay * Lullaby (for String Quartet) The Man I Love * Nice Work If You Can Get It * Prelude II (Blue Lullaby) (1927) * Rhapsody in Blue * Somebody Loves Me * Someone to Watch over Me * Strike Up the Band! * Summertime * 'S Wonderful * They Can't Take That Away from Me * Three-Quarter Blues ... Read more

Product Description
George Gershwin was one of the most imaginative American composers. His works incorporate elements of jazz, creating a rich style that is unmistakably American. This volume contains 18 piano pieces, including song hits later published for solo piano, seven preludes for piano, and more. 52 pages.This product received first place inthe Standard Folio category at the 2006 Music Publishers' Association "Paul Revere" Awards.8 Do It Again10 Fascinating Rhythm12 I'll Build a Stairway to Paradise14 Impromptu in Two Keys16 The Man I Love20 Merry Andrew22 Prelude I (1927)26 Prelude II (Blue Lullaby) (1927)30 Prelude III34 Prelude (Novelette in Fourths)38 Prelude (Rubato) (1923)40 Prelude (Melody No. 17)43 (Prelude) (Fragment) (January 1925)44 Somebody Loves Me46 Swanee48 'S Wonderful50 Three-Quarter Blues ... Read more

Book Description
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 treated 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. ... Read more

Customer Reviews (3)

Gershwin to the core
As compiled by Robert Wyatt and John Andrew Johnson, George Gershwin springs to life in this book as much as his music. Told from the inside out, the authors allow Gershwin, his contemporaries and those who followed him to create a picture of the composer and how he lived and breathed music every day. This is a beautiful book.

Chief among the contributions in "The George Gershwin Reader" are letters between Gershwin and those with whom he came into contact. We read Gershwin's letters describing how he composed, reactions from him to those who challenged his compositions (especially questions about his own orchestrations) and his eternal boyishness as he wrote friends and family regarding his daily pleasures. His early demise only strengthened the views of so many that Gershwin was a musical genius and that he, more than any other composer, captured the essence of America in transition between the two world wars.

Although "The George Gershwin Reader" can occasionally get overly detailed in musical theory, the pages flow easily. The brief summaries that the authors give before each numbered entry are most helpful for explanation in setting the stage for what ensues. The timeliness of Gershwin's life mirrored by these entries is the authors' best contribution.

It is easy to see why, more than eighty years after George Gershwin's first big success, "Rhapsody in Blue", his music has so long endured and is so endeared. This book is a great tribute to Gershwin and one I hope other readers will enjoy thoroughly.

Nice attempt, but it's been done more colorfully before
Certainly this is a worthy effort in the realm of Gershwin scholarship, and received deserved attention with an unusually long Gershwin piece, citing articles reprinted in this book, that appeared in the New Yorker magazine on Jan. 10, 2005. Nevertheless, readers should be aware that in 1998--and still available on Amazon--the first book to reprint these amazing primary-source articles by Gershwin and his associates, contemporaries, critics, etc., was published: GERSHWIN IN HIS TIME. Its focus was to provide an overview using original sources and writers (including both Gershwins, DuBose Heyward, Alexander Woolcoot, Olin Downes, Paul Whiteman, Brooks Atkinson, and other critics; also reprinting newspaper and magazine reviews of the major Gershwin symphonic and theatrical productions) of ONLY the contemporary accounts of the composer's works, as they were written and premiered.
In addition this was and is the first and only full-color book on Gershwin, and it augments the articles with page after page of reproductions of original sheet music, programs, magazine art, photos, posters, and pertinent memorabilia, all published during the composer's lifetime. It would be a shame not to acknowledge the groundbreaking nature of this first book to present the contemporary materials of Gershwin's life and career. Readers who are fascinated by this subject, and would like to see color visual counterparts to the original articles, are encouraged to seek out a copy of GERSHWIN IN HIS TIME.
However, readers should understand that the new GERSHWIN READER expands on the materials in GERSHWIN IN HIS TIME by also including significant lettersby the composer and his associates, as well as criticism and discussions of the works by authorities and fellow composers in the years following Gershwin's death in 1937--extremely important materials, and a must for anyone interested in all of the 20th century's opinions of the composer. GERSHWIN IN HIS TIME remains valuable as a scrapbook of contemporary accounts and color images that present a complete "you-are-there," year-by-year (1919-1937) overview of Gershwin's career and works.

Both informative and enjoyable reading
Having four biographies of George Gershwin (GG) already in my collection, I wondered if something called "The George Gershwin Reader" would be of any value. I needn't have wondered! Reading it cover to cover has been one of the more pleasant tasks I have encountered as a reviewer.

This Oxford University Press book retails for $30. Edited by Robert Wyatt and John Andrew Johnson, it is organized into eight sections: Portraits of the Artist, The Growing Limelight (1919-1924), Fame and Fortune (1924-1930), Maturity (1930-1935, Porgy and Bess, Last Years: Hollywood (1936-1937), Obituaries and Eulogies, and As Time Passes. There are 83 reading selections in all. Some are contemporary reports, essays, letters, biographies; some are backward looks written since the composer's death.

In short, this can be used as a sourcebook for those studying various aspects of Gershwin's life and works (practically the same things) or read for pure enjoyment. My favorite anecdote that so wonderfully reveals the innocent egotism of GG is the story told on pp. 181-182 about a remark he made to composer Harry Ruby and his reaction to being reminded of it two years later. Priceless.

Each selection is introduced by the editors, who give background information about what is to be discussed and the persons involved. There is no dearth of negative criticism about GG's "classical" compositions; and they have even included one which states that Gershwin could not have written the music attributed to him. (The implication is that no Jewish composer could have done that well, a strong echo of Wagner's identical claim, and then contradicted by the writer's claiming the music is bad anyway!)

This OUP book is the very model of what a "reader" should be-and teachers and students of the history of American music, I will be making great use of the information therein.

Need I add, Highly Recommended? ... Read more

Product Description
A comprehensive collection of 39 of George & Ira's best, including: Fascinating Rhythm How Long Has This Been Going On I Got Rhythm Let's Call the Whole Thing Off Love Walked In Nice Work If You Can Get It 'S Wonderful Someone to Watch Over Me Strike Up the Band They Can't Take That Away From Me and more.'S WonderfulA Foggy DayA Woman Is A Sometime ThingBess, You Is My WomanBidin' My TimeBut Not For MeBy StraussClap Yo' HandsDo, Do, DoEmbraceable YouFascinating RhythmFor You, For Me, For EvermoreHow Long Has This Been Going On?I Got Plenty O' Nuttin'I Got RhythmI Love To RhymeI've Got A Crush On YouIt Ain't Necessarily SoLet's Call The Whole Thing OffLiza (All The Clouds'll Roll Away)Love Is Here To StayLove Is Sweeping The CountryLove Walked InMy Man's Gone NowNice Work If You Can Get ItOf Thee I SingOh Lawd I'm On My WayOh, Lady Be Good!Shall We Dance?Slap That BassSomebody Loves MeSomeone To Watch Over MeStrike Up The BandSummertimeSwaneeThe Man I LoveThe Real American Folk Song (Is A Rag)They All LaughedThey Can't Take That Away From Me ... Read more

Customer Reviews (4)

Beware........for the beginner piano player!
I guess I should have asked, but I read all the reviews and no mention was made that this is for the "beginning" piano player.I'm not "concert" talent but this is for someone just beginning......say two/three years........(think, "big notes")so............I was disappointed.If you're just looking for vocal/guitar music, this might fill the bill.

I returned the book and was given full credit.Nice to deal with an understanding seller.

Charming Collection of Gershwin Songs
'The Gershwin Collection' is a collection of sheet music the most popular Gershwin songs.Piano transcriptions are provided as well as guitar chords above the staves and lyrics where applicable.There is barely any inclusion of any of Gershwin's symphonic or concert hall works.Almost all the works here are lifted straight from the most popular Gershwin Broadway shows and films, as well as the opera 'Porgy and Bess', often considered the first American folk opera."Summertime," "I Got Plenty O' Nuttin'," "A Woman Is A Sometime Thing," and "My Man's Gone Now" are among the works included from the opera 'Porgy and Bess.'

My favorite songs in this book are "Someone To Watch Over Me," "A Foggy Day," "Love Is Here to Stay," "Fascinating Rhythm," "You Can't Take That Away From Me," "But Not For Me," "The Man I Love," "I Got Rhythm," "Strike Up The Band," "Could You Use Me," "Nice Work If You Can Get It," "Let's Call The Whole Thing Off," "S'Wonderful," "Lady Be Good," "Somebody Loves Me" and "Love Walked In." You can smell the American songbook from a mile away, and these songs, together, take up a pretty big chunk of what is considered the American popular songbook.

The piano arrangements in 'The Gershwin Collection" are straightforward and fairly accurate.There is everything needed to produce a rendition of these Gershwin songs.With access to recordings of these songs, the musician can go even further to produce a performance with the style that these songs have taken on based on historical precedent of Judy Garland, Charlie Parker, and Ella Fitzgerald.

The simplicity, innocence, authenticity, purity, beauty, and honesty of these tunes draw me into them emotionally and intellectually, making me want to play them and listen to them.This book helps to bridge the two and brings me to a greater appreciation of the songs.Thank you, George Gershiwn.And Ira, too.

Thegreatness of the Gershwins
Collected here are many of the true standards, the true classical works ofAmerican song. These are the songs played through the Muzak, the songs at the background of so much of American life and experience.
I confess to walking and singing many of these songs as I go. There is a special spirit in them, a spirit of youth and yes a spirit of American optimism and freedom. Even the songs of disappointed love have in them a kind of optimism given by what might be called the 'elegance and tenderness of their beauty'.
I have never reador heard a real analysis of 'Summertime ' and 'Embraceable you' of 'I got rhythm' or 'It Ain't Necessarily so' but my sense the vitality, the vibrancy of youth is at the heart of these songs. And then too a real sympathy with suffering.

Songs
I myself take voice lessons and all the pieces I sing are taken from this book.It is full of wonderful Gershwin songs and is a great buy. ... Read more

Customer Reviews (1)

Presentation versus content
The songs in this slender volume are delightful but the binding is so poor that after only a few weeks of use many pages have become completely detached. ... Read more

Book Description
George Gershwin pioneered the crossover from Broadway musicals to concert audiences, culminating in what is arguably America's greatest opera, Porgy and Bess. In William G. Hyland's new biography, Gershwin's personality and music are reexamined. Hyland illustrates how the composer's craftsmanship was criticized and his music was relegated to the status of "lowbrow" for decades, until the relatively recent appreciation of his achievements. Yet for all of his artistic brilliance, Gershwin was vulnerable and discontented in his personal life. Hyland reveals both the man and his creations, revealing how Gershwin became the first composer to apply popular music to classical forms, how his work reflected the turmoil of America in the Jazz Age, and how, despite his fame, he never achieved the happiness and contentment a genius of his stature deserved. This is a fascinating new biography that no Gershwin fan--and no music fan--should be without. ... Read more

Customer Reviews (3)

Hyland's George Gershwin
I ordered this book because I've always liked Gershwin's music & happened to catch the last part of the film Rhapsody in Blue on Turner Movie Classics recently. The book does an adequate job of covering Gershwin's composing career, and indeed most of the chapters are titled according to the major composition discussed. If one is looking for in-depth information about Gershwin himself, his relationships, his family & his interests & activities outside music, the book is less satisfying. For example, one might assume from reading this book that his younger brother Arthur died in infancy as he is not mentioned except for his birthdate. Arthur actually lived to an old age, married, had kids & composed music himself. What relationship he & George had is unknown. Similarly, while Ira's wife Leonore had a part in George's life, she appears haphazardly throughout the book and little about her relationship with George is explored. George was also a painter but that is only tangentially mentioned. There is so much more that could fill out a broader, more in-depth picture of Gershwin. One could also wish for better editing to remove grammar errors & smooth out the repetitious use of some phrases as well as the jerky transitions from one subject to the next. The author's extensive research is evident & the endnotes at each chapter useful. For someone interested in Gershwin's growth as a composer, the book does a creditable job of documenting the major compositions & music events in the composer's life. For more about the man himself, readers must look elsewhere.

Scrupulously researched, but unfair to Goddard
Do we need another new biography of Gershwin? The author makes no strong claims to having written an important book. His introduction is so modest that you get the impression writing this book is a way to fill up the empty hours of his retirement. (He is 75, so no spring chicken.) That said, GEORGE GERSHWIN is scrupulously researched and makes claims for Gershwin's continuing stature within the field of music that pique the interest. Hyland's style isn't really a style per se, but it's serviceable and only gets in the way of his meaning occasionally.

I found Hyland's animus against the film star Paulette Goddard a bit puzzling. Is it because she was married (to Charlie Chaplin) when she conducted her affair with Gershwin? Hyland says that she is "not a reliable witness" as though this were a damning thing to say about someone's character (perhaps for a biographer it is, but for the general public? I don't know). She seems to have brought Gershwin some sexual pleasure and distraction from the illness that eventually killed him, but to hear Hyland tell it, it's almost as though her lying about dates done him in. Give a girl a break, William Hyland! Other than this lack of gallantry I enjoyed the book from beginning to end.

George Gershwin: A New Biography
I almost didn't finish this biography. The earliest part of the book, given over to a recounting of Gershwin's background and youth, is so stilted and so badly edited that I almost threw it against the wall. There are numerous misprints or typos. For example, lyricist Irving Caesar's last name is spelled three different ways on ONE page, and then the same three different ways again a few pages later. Didn't anyone proofread the book? In the book's second sentence we read that in 1898, the year of Gershwin's birth, the newly consolidated five boroughs of New York City 'encompassed over three hundred acres.' I don't think so; that's less than one square mile! But I persisted, and it got better. I noticed, also, that when the author, a former aspiring jazz trumpeter and then long-time editor of 'Foreign Affairs Quarterly,' was writing about the music itself his style became more graceful and his unbounded love for the subject was obvious. Indeed, his style is down-right perky when he's talking about something he's really interested in. Still, there is a good deal of 'and then he wrote' and extraneous material in the organization of the book.

I am certainly not a Gershwin scholar, but I have read several of biographies and lots of liner notes over the years. Edward Jablonski's Gershwin books remain the best I've seen. Still, I learned some new things in Hyland's book. For instance, I don't recall hearing or reading that Gershwin intended to write a total of 24 piano préludes (presumably like Chopin's Op. 28); he did finish three and apparently had begun a fourth. I read that and started wishing he'd kept at it--the three he published were party pieces of mine in my piano-playing days--but of course his was such a frenetic and tragically short life it's no surprise that he didn't manage it.

Quite the most appealing chapter for me is the one about 'Porgy and Bess.' It is chock-full of fascinating anecdotes as well as some serious analysis of the work itself. It is, after all, the greatest American opera. Hyland's enthusiasm for the subject and detailed knowledge of it makes this by far the most interesting chapter of all. For that I give him all credit.

This is not a book for the casual buyer but is necessary for anyone who wants to read more than the usual biographies. I will say this: Hyland seems to have read just about everything ever written about Gershwin and there is an extensive and helpful bibliography. For that alone, for some readers, it might be worth the purchase price.

Scott Morrison ... Read more

Product Description
Titles are Rhapsody in Blue * Prelude I * Prelude II * Prelude III * Prelude (Fragment) * Prelude (Sleepless Night) * Prelude (Melody #17) * Prelude (Novelette in Fourths) * Prelude (Rubato) * Concerto in F * An American in Paris * I Got Rhythm Variations * 2nd Rhapsody * Cuban Overture. ... Read more

Customer Reviews (2)

The rare preludes are here--thank YOU!
I had to search high and low for Zizzo's edition of the rarer preludes. Here, you have all of the Gershwin keyboard works, including the short preludes I, II and III, as well as those rare preludes "Novelette in Fourths" and "Sleepless Nights." The "I've Got Rhythm" variations are virtuoso--so beware, this book ranges from the playable to the shockingly difficult. But I can't tell you what a pleasure it is to have it all in one book finally. Thank you, Ms. Zizzo. Even if I can't play all of these, it's "S'wonderful" to be able to read the scores.

Gershwin at his best -- the Piano
Beginning as a song plugger, the self-taught Gershwin became a master of the piano.What better way to indulge in this music than to paly it yourself!This collection contains piano arrangements of his greatest works, inclduing Rhapsodie in Blue for solo piano, and the overly ignoredand infrequently heard Concerto in F.There are also two pianoarrangements of orchestral peices, i.e. Cuban Overture.Be advised, thearrangements are difficult.Learning to play them will definitely taketime.However, if you're into studying the works, or following along asyou listen, then this is for you.Two copies will be necessary if you'regoing to perform them. ... Read more

Customer Reviews (2)

Thorough and well-done
I'm no Gershwin scholar, but the musicological and performance notes are informative and engraving is well-organized and clear.

Great music by an American composer
George Gershwin was a tremendously popular composer in the 1920's and 30's.He went beyond just writing popular tunes, and tried to branch out into more serious music.Not to say that the songs he wrote aren't masterpieces in their own right.Listen to the Gershwin Songbook as played by Andre Watts, a concert pianist.The Gershwin songbook contains arrangements of songs by the composer himself.Full of melody, charm and rhythm, true American classics.

The Preludes in this edition are more of the same.With a jazzy feel to them, they are very rewarding to play.They feel different under the hand, and remain a great opportunity for the classically trained pianist to expand his technique and ear.

This edition is well printed and easy to read. A fine edition of some very good music.

Highly recommended ... Read more

Book Description
Includes: Bidin' My Time * Embraceable You * Fidgety Feet * I Got Rhythm * I've Got a Crush on You * Looking for a Boy * The Man I Love * Mine * Somebody Loves Me * Son * Swanee * That Certain Feeling * Who cares (Son Long as You Care for Me) and much more. ... Read more

Book Description
This is a startlingly fresh account of the life of one of the greatest 20th-century Americans, composer and songwriter George Gershwin. Joan Peyser examines Gershwin's character, his complex relationship with brother and collaborator Ira, and his several romantic affairs. This 2006 edition includes newly discovered information in a new author's introduction. ... Read more

Customer Reviews (5)

Confused & Confusing
A unhealty stew of a book.While there are a few interesting insights, it is poorly integrated with little or no logical development. It reads like a poorly edited Master's thesis.Too much gossip, second and third-hand reports, and gross speculation.Gerwhwin's impact on both popular and "serious" music is severely understated.Probably the best part of the book is the picture section.

I have mixed feelings.
Though I enjoyed this book tremendously, it was a guilty pleasure. Gershwin's musical life has been thoroughly documented in other books, and comparatively Joan Peyser doesn't fall too short in keeping us sufficiently well-informed of Gershwin's musical development in this book. However, her strong suit is Gershwin's personal life, and she raises some interesting theories in that area, some which seem very well-researched and others which seem to be little more than hearsay, though I give her credit for doggedly digging up such obscure hearsay. However, nothing revealed by this hearsay seems out of character for Gershwin based on what we know from earlier more scholarly biographies, so it comes across as quite believable, and answers some of the juicier questions many of us have had about Gershwin's private life. In that sense, its a real page turner.

The principles of scholarly nonfictional writing dictate that an author doesn't print information that didn't come from one or several reliable sources. Peyser has flouted that principle throughout this book. She frequently presents tantalizing bits of insider information that she obtained from a lone source, or worse yet from a person quoting another person, and in at least one memorable instance, a person quoting another person quoting another person (whew)! Having said that, essentially there are only two new theories that she pushes in this book. One, is that Gershwin had a subconscious masochistic streak in him that caused him to gravitate towards people of a cruel, insensitive, selfish, even sadistic nature (mainly because his mother was such a person), and the other, that it is a FACT, not rumor that Gershwin fathered an illegitimate son. The theory about Gershwin's masochistic streak is interesting, but it really matters not whether the reader buys it or not; it's merely an interesting thing to point out. But the theory about Gershwin's illegitimate son carries more weight, and deserves a closer look.

Other biographies, notably Charles Schwartz' 1973 biography have mentioned the alleged son and his claim to be Gershwin's progeny, immediately making the disclaimer that there is no evidence to prove or disprove his claim. Peyser, on the hand, dives head first into this controversy, throws out every bit of information on the matter that she can dig up, from solid proof to secondhand hearsay and let's the reader decide whether or not it is true. Is this responsible journalism? Probably not. Does it mean that the story is nothing more than an outlandish fabrication? No, it does not. From what we do know as fact about Gershwin, the story is quite plausible. We do know from numerous reliable sources that Gershwin was a sexual tyrannosaurus, going through scores of women in his short life. We also know that in the 1920s and 30s the use of contraception in casual sexual encounters, when it was used at all, was pretty much limited to the condom, which most men detested, and few carried around with them. We also know from old medical records, that a dancer who appeared in George White's Scandals of 1927, one of Gershwin's musicals, gave birth to an illegitimate son in 1928 who bore a striking physical resemblance to George Gershwin, even growing up to be afflicted with the same premature male pattern baldness as George Gershwin. All coincidence? Possibly. But based only these facts alone, it is not hard to believe that Gershwin fathered at illegitimate child. It would be harder to believe that he did not. The odds were certainly against him. When one factors in Joan Peyser's hearsay from friends and employees of Gershwin, it seems almost a certainty.

I do believe there are certain exceptions to the principles of scholarly journalism, however questionable and unsavory they may be. One exception is when clear factual information simply does not exist to prove a theory, and the best proof an author can come up with is sketchy and vague, e.g., Tchaikovsky's homosexuality. There is no solid proof to back up this claim OTHER than hearsay, and yet it is mentioned in all modern biographies of Tchaikovsky, and generally accepted as fact by the public. Another exception is when factual information exists but is withheld by its source, forcing the author to dig around the source for any scrap of information to corroborate what is likely true (why else would the source withhold evidence)? Such is the case with Gershwin's alleged son. In all likelihood, there is more than enough evidence to prove or disprove his legitimacy (or illegitimacy, as the case may be). If that evidence could prove his claim to be false, the Gershwin family would have come out with it years ago. So it is reasonable to deduce that the information they will not share with biographers proves the alleged son's claims to be true. It is understandable that family members as wealthy and influential as the Gershwins would seek to guard the image of so great an historical figure as George Gershwin, but it is also understandable that Peyser, sensing that she is onto something, would quote other sources less credible than the Gershwin family to make a case for an important matter in the life of her subject.

I sense that this author has a good nose for sniffing out the truth behind a story (though I can't prove it) even if what she finds cannot prove her to be right. Intuitive journalism, you might call it. I admit that this biography lacks the stamp of responsible journalism, and carries with it a whiff of lasciviousness, yet on the other hand, I believe she is barking up the right tree in most cases, even if she can't prove to our satisfaction that there's really anything up the tree.

If you're really interested in Gershwin's life, from soup to nuts, then you have to read this book, even if you disagree with every word of it.

Certainly Not Trash
This is much more than trash. I found it an unholy but compelling stew. This biography seeks to unmask Gershwin legends while touching on Gershwin's family, 20th century music trends, Broadway, popular song, and the zeitgeist. Granted, it does not tie these things together with any sort of elegance.

Peyser is not afraid to shoot from the hip. Sometimes she overextends and misses...sometimes she is truly persuasive about the players' psychology and motivations.

It's a weird read, combining the recollections of a 101 year old Gershwin family member with observations on Stravinsky's development as a composer. But I'm glad I read it. And I respect this author for doing what she could to record the recollections of people decades after the events. That, in itself, is no mean scholarly contribution!

Finally, I feel obliged to note that this author seems very indebted to Jablonski's *Gershwi*.

Garbage In - Garbage Out
This book proves the old computing adage!It's too bad the author doesn't have any solid research to back up the wild claims she makes about Gershwin's life.Too bad there isn't less than one star on amazon.comratings, this book deserves far less.

Reads like a bad supermarket tabloid.
This book seems like an overt attempt at character assassination.If the author wants us to believe most of the "new material" that is presented in this book it's going to take more documentation than third orfourth hand rumor and gossip.

Surely there is a lot more complexity anddepth to George Gershwin's character than we have had in previousbiographies, but this trashy book doesn't convey that.For example, we arenow to believe that Gershwin was a sadist because the author heard thatfrom someone, who heard it from someone, who had it second hand fromsomeone who heard it from George's psychologist?Puh-leeeze!

In myopinion, the author presents a lot of negative points about Gershwinwithout citing credible sources to back up the claims.I felt I wasreading a diatribe from someone with a personal axe to grind, rather than ascholarly or well researched biography.

Let's hope a new generation ofbiographers don't cite this work as their source material for futurebiographies of Gershwin.It's trash.

There are other more informativebiographies of Gershwin out there...go for something else. ... Read more

Customer Reviews (1)

informative but not especially analytic
Jablonski and Stewart have done diligent research and this is a very useful compendium of data, but they are too much invested in a kind of sycophantic worship to present a truly incisive or analytic sense of thisimmensely creative duo. Stewart's contribution as Ira Gershwin's one-timeassistant is especially problematic for its lack of objectivity. And thewriting throughout is quite pedestrian. ... Read more

Book Description
The early twentieth century was a wonderful time for American music, and George Gershwin was the most gifted composer of that era. Songs such as "Summertime" and "Someone to Watch Over Me" continue to enchant listeners and performers. His Rhapsody in Blue is still performed around the world and Porgy and Bess, written near the end of his tragically short life, was the first successful use of traditional American music in an opera. ... Read more

Book Description
Performed by Nayden Todorov, piano; Accompaniment: Plovdiv Philharmonic Orchestra; Conductor: Nayden Todorov Gershwin's masterpiece is now available in a thrilling MMO version! The piano concerto that transformed modern music and integrated jazz sensibilities into 'serious' music is a magical experience for player and listener alike. This deluxe edition includes a new enhanced -20% reduced-speed version for your practicing ease. This pack includes the printed score for solo piano with orchestral reduction; informative liner notes; and a digital stereo compact disc, voluminously indexed for your convenience, containing a complete version with soloist; then a second performance of the orchestral accompaniment, minus you, the soloist. ... Read more

Customer Reviews (5)

Great book for children and music-lovers
This is another evocative and personal book by Ms. Celenza, who has a gift for building a story that appeals to young readers.

This book definitely *does* come with a CD - it is inside the back cover.Perhaps the other reviewer who didn't get a CD was expecting a separate CD case?Regardless, it's a nice combination.

Rhapsody in Blue
Very nicely done...excellent for classroom use to teach the history and
circumstances surrounding the composition of the tune. I would use it in
conjunction with a unit on Tin Pan Alley or Gershwin, or music of the times.Great gift for aspiring pianists!

A 2007 Association of Jewish Libraries Notable Book for Younger Readers
A fictionalized account of the creation of George Gershwin's "Rhapsody in Blue" details how the composer was pressured to create a new concerto in just a few weeks, how he was inspired by the rhythm of a train ride, the klezmer band at his brother's Bar Mitzvah, the harmonies of nightclub dance music, ragtime, and the blues, and the enthusiastic reception the piece received at it's first performance.Kitchel's illustrations authentically depict the spirit of the roaring twenties, an author's note gives readers additional information, and the included CD recording provides added value.

No CD Included
This is a wonderful book but I was sad to discover after receiving not only my first order without a CD, but my second REPLACEMENT order as well, that Amazon does not include your CD recording with your purchase as described.I would recommend searching elsewhere for this book.

Gershwin's Rhapsody in Blue
Jewish immigrants from Eastern Europe arrived in the United States as learners of American culture and within a generation became its creators. In print, on stage and screen, on radio and in the world of music, their children created now iconic works which consciously or unconsciously melded their Jewish roots and American experiences. A prime example is George Gershwin's Rhapsody in Blue, a work that contains elements of Jewish, ragtime and blues music. The concerto is a living example of how a "melting pot society" led to the development of a uniquely American art form.

Through invented dialogue, the author reconstructs Gershwin's thought processes as he begins to envision the music and then creates the work. The only mention of Gershwin's Jewish heritage are references to klezmer music - e.g. "the klezmer band at Ira's bar mitzvah" -but the term is not defined. The terms "ragtime" or "blues" are also not explained.In life, Gershwin was very much influenced not only by the Jewish music of his youth but also by his exposure to African American music.

The book offers a very well written and illustrated glimpse into the creative process of a musical genius and could serve to open further discussion with young readers on the contributions of Jews to American music.

A CD of Rhapsody in Blue (from an original piano roll played by Gershwin himself) accompanies the book. For ages 8-10.Reviewed by Norman H. Finkelstein ... Read more

Book Description

Customer Reviews (1)

Stunningly beautiful, intelligent, fun, and engaging
When this book came out I was graduating from college with atheatre degree.A little lost, but in love with a recording of StrikeUp the Band, I bought this book.This beautiful book gripped me,delighted me and enchanted me.7 years later, I'm writing my dissertation on musical theatre, with my first chapter (and my favorite) on the Gershwins.Deena Rosenburg's book is a model of what musical theatre biographies can be--history on the authors, the shows and the times.I won't wreck the ending for you, but it is one of the only non-fiction books I could say that about.I spent a week as spellbound as I was when reading The Lord of the Ring, and I will always hold this up as a fabulous book to introduce anyone to musical theatre and a joy.Bravo!END ... Read more