By Gershwin, George; Gershwin, George; Gershwin, George; Pollack, Howard
Pollack’s energetic narrative describes Gershwin’s relatives, formative years, and schooling; his early profession as a pianist; his friendships and romantic lifestyles; his relation to varied musical traits; his writings on track; his operating equipment; and his tragic dying on the age of 38. in contrast to Kern, Berlin, and Porter, who generally labored in the confines of Broadway and Hollywood, Gershwin actively sought to move the bounds among low and high, and wrote works that crossed over right into a realm the place paintings track, jazz, and Broadway met and merged. the writer surveys Gershwin’s complete oeuvre, from his first surviving compositions to the melodies that his brother and important collaborator, Ira Gershwin, lyricized after his dying. Pollack concludes with an exploration of the performances and significant reception of Gershwin's song through the years, from his time to ours.
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Extra info for George Gershwin : his life and work
19 (1911), in public. Another student, conductor Nathaniel Shilkret, whose extraordinary career with the Victor company brought him into frequent contact with many of the day’s ﬁnest musicians, thought Hambitzer “one of the greatest pianists I ever heard. 12 Hambitzer was furthermore a composer of unpublished orchestral tone-poems and incidental music, art songs, and light operas, including Kadja,The Love Wager, and The Amethyst Ring, the latter left unﬁnished at the time of his death in 1918, apparently of tuberculosis, a disease that had claimed his wife in 1914.
Or perhaps she was emulating her sister Emily, who also married a lyricist, Lou Paley. In any case, Leonore proposed to Ira a number of times before he accepted. 44 Leonore skillfully helped arrange Ira’s and George’s busy social lives, in the process gaining a reputation for hospitality that surpassed Rose’s. ” At the same time, she had an imperious side that revealed itself more and more with the passing years, perhaps related to her increasing reliance on prescription drugs; even as early as the 1945 biopic, Julie Bishop played her with a kind of arch sangfroid.
The more advanced work shows increased attention to modulation, in particular the rapid cycling through keys and the use of secondarydominant harmonies. Although these exercises represent nothing extraordinary in themselves, they not only suggest that Gershwin began his work with Kilenyi prior to August 1919 but also support claims of his seriousness, for they show considerable attention to detail. 26 Ira provided an additional clue to when Gershwin may have started lessons with Kilenyi, for he mentions in his diary that George left his fulltime job at Remick in March 1917 in order to have more time to study.