Rhapsody in Blue

Rhapsody in Blue is a work for Piano and Orchestre or Harmonie composed by George Gershwin in 1924, which combines elements of Classical music and Jazz.

History

Order

After the success in a jazz-traditional experimental concert of the Canadian singer Eva Gauthier with the Aeolian Hall of New York on November first 1923, the leader Paul Whiteman decided to be risked in a more ambitious project. It then ordered from Gershwin a Concerto to present at the time of a concert jazz to Aeolian Hall in February 1924. Whiteman had started to be interested in a composition of this kind by Gershwin after being impressed by the originality of the opera in an act Blue Monday , which had been a failure. Gershwin was not too enthusiastic with the idea of this new part since its new comedy, Sweet Little Devil , was to make its beginnings in New York on January 21st. It should still probably revise the partition until this date and it did not think of having time to compose the concerto. an article entitled " What American music? " in connection with the concert of Whiteman. The last paragraph announced that " George Gershwin worked with a concerto jazz". Put at the current, Gershwin finally decided to compose the part.

Composition

As it did not remain any more that five weeks before the concert, Gershwin was quickly put at work, and it is in a train of Boston that the ideas for the Rhapsody in Blue came to him.

It was put at work on January 7th, as indicated on the manuscript for two pianos.

First

Rhapsody in Blue was created during the afternoon of the February 12th 1924 under the title An Experiment in Modern Music . The concert took place in Aeolian Hall with New York.

The orchestra of Whiteman was increased by a section of cords, with George Gershwin with the piano. Gershwin improvised the solos of piano. As he wrote the partition of piano only after the concert, we do not know what resembled the original Rhapsody .

Reception

The concerto caused criticisms varied. Some qualified it " music of nègre" , others of music without form. Others still protested the genius of the type-setter.

Music

Orchestration

Gershwin affirmed that Ferde Grofé was the key component of the success of the part, and the critics applauded the orchestrations. Grofé confirmed into 1938 that Gershwin did not have enough knowledge in orchestration in 1924. After the first, Grofé made new orchestrations in 1926 and 1942, each time for a broader orchestra. The most recent version is most often heard.

The orchestration of 1924 for the orchestra of 23 musicians of Whiteman is for a Flûte, a Hautbois, Clarinette S (in E flat, in B flat, viola and low), a Basson, Saxophone S, 2 horn S, 2 Trompette S, 2 Bugle S, a Euphonium, 2 Trombone S, a bass trombone, a tuba, 2 Piano S, a Celesta, a Banjo, drums, drinking cups, a battery, of the Violin S, the Double bass S and a Accordion. Several musicians played of two instruments.

The orchestration of 1942 is for Piano solo, 2 Flûte S, 2 Hautbois, 2 Clarinette S in B flat (both doubling the clarinet in), a low clarinet in B flat, 2 Basson S, 3 horn S in F, 3 Trompette S in B flat, 3 Trombone S, a tuba, drinking cups, percussions (crash landing, clear Caisse, Grosse case, gong, Triangle, Cloche S and Cymbale S), Piano, 2 alto saxophones in E flat, a Saxophone tenor in B flat, a Banjo, and string instruments (Violin, Viola (violin), Violoncello and Double bass).

Recordings

There exist two recordings of Gerhswin to the piano with the orchestra of Whiteman: one of June 1924, and April 1927, led by Nathaniel Shilkret. There exists also a recording of Gerhswin playing the version for two pianos. The orchestra of Whiteman off recorded the part for film of 1930 The King Jazz (the king of the jazz) with Roy Bargy with the piano.

Since the middle of the 20th century, the version of 1942 was played by the orchestras. It became traditional repertory. One of the factors of popularity of the part is its popular character associated with a traditional construction.

During the years 1970, an interest for original arrangement appeared. Recordings were made by Michael Tilson Thomas and the Los Angeles Philharmonic in 1975 putting in the Gershwin high-speed motorboat thanks to the recording of the version for two pianos, and by Maurice Peress with Ivan Davis with the piano in a reproduction in the concert of February 1924.

Famous recordings

James Levine (pianist & chief) with the Chicago Symphony Orchestrated
Raising Oscar (pianist), Eugene Ormandy (chief) with the Philadelphia Orchestra
Leonard Bernstein (pianist & chief) with the New York Philharmonic Orchestra in 1959
Earl Wild (pianist), Arthur Fiedler (chief) with the Boston Pops Orchestra in 1960

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