- Title Pages
-
Roth Family Foundation
- [UNTITLED]
- [UNTITLED]
- Dedication
- [UNTITLED]
- Preface
-
Chapter One Gershwin and His Family -
Chapter Two Gershwin's Musical Education to the Rhapsody in Blue (1924) -
Chapter Three Gershwin and the New Popular Music -
Chapter Four The Popular Pianist -
Chapter Five Toward a Career in the Theater -
Chapter Six Gershwin among His Friends -
Chapter Seven Later Studies -
Chapter Eight Gershwin and the Great Tradition -
Chapter Nine Gershwin and Popular Music and Jazz after 1920 -
Chapter Ten Working Methods -
Chapter Eleven Gershwin the Man -
Chapter Twelve From “Ragging the Traumerei” (ca. 1913) to The Capitol Revue (1919) -
Chapter Thirteen From Morris Gest's Midnight Whirl (1919) to The Perfect Fool (1921) -
Chapter Fourteen From The French Doll to Our Nell (1922) -
Chapter Fifteen From The Sunshine Trail to Sweet Little Devil (1923) -
Chapter Sixteen The Rhapsody in Blue (1924) -
Chapter Seventeen The Scandals of 1924, Primrose, and Lady, Be Good! (1924) -
Chapter Eighteen Short Story, Tell Me More, and the Concerto in F (1925) -
Chapter Nineteen Tip-Toes and Song of the Flame (1925) -
Chapter Twenty Oh, Kay! and Other Works (1926) -
Chapter Twenty-One Strike Up the Band and Funny Face (1927) -
Chapter Twenty-Two Rosalie and Treasure Girl (1928) -
Chapter Twenty-Three An American in Paris (1928) and East Is West (1929) -
Chapter Twenty-Four Show Girl and The Dybbuk (1929) -
Chapter Twenty-Five Girl Crazy (1930) -
Chapter Twenty-Six Delicious and the Second Rhapsody (1931) -
Chapter Twenty-Seven Of Thee I Sing (1931) -
Chapter Twenty-Eight George Gershwin's Song-Book (1932) -
Chapter Twenty-Nine The Cuban Overture (1932) and Pardon My English (1933) -
Chapter Thirty Let ʼEm Eat Cake (1933) and Variations on “I Got Rhythm” (1934) -
Chapter Thirty-One Porgy and Bess (1935) -
Chapter Thirty-Two The First Production of Porgy and Bess -
Chapter Thirty-Three Porgy and Bess in Revival -
Chapter Thirty-Four Porgy and Bess on Disc, Film, and the Concert Stage -
Chapter Thirty-Five From Swing Is King (1936) to A Damsel in Distress (1937) -
Chapter Thirty-Six From The Goldwyn Follies (1938) to Kiss Me, Stupid (1964) - Conclusion
- Selected Bibliography
- Index
Gershwin and the Great Tradition
Gershwin and the Great Tradition
Concurrent with his later theoretical studies, Gershwin further investigated the classical repertoire. He especially admired Bach, Mozart, Beethoven, Schubert, Chopin, Wagner, Brahms, Rimsky-Korsakov, Richard Strauss, Debussy, and Stravinsky. Gershwin not only went to concerts but studied the great classics at home, including the Bach keyboard toccatas, and also took an interest in current developments and in meeting other composers both at home and abroad, including England. He made additional discoveries in his later years, and in 1929 acquired the score to Alfredo Casella's Serenata for five instruments. Meanwhile, Gershwin knew more about his own country's composers than he generally made known. His greatest affinity and loyalty were always to Broadway's composers, including those, such as Vernon Duke and Oscar Levant, who were, like himself, active in more serious realms as well.
Keywords: classical music, Bach, Alfredo Casella, Serenata, Mozart, Broadway's composers, Oscar Levant, Vernon Duke
California Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.
- Title Pages
-
Roth Family Foundation
- [UNTITLED]
- [UNTITLED]
- Dedication
- [UNTITLED]
- Preface
-
Chapter One Gershwin and His Family -
Chapter Two Gershwin's Musical Education to the Rhapsody in Blue (1924) -
Chapter Three Gershwin and the New Popular Music -
Chapter Four The Popular Pianist -
Chapter Five Toward a Career in the Theater -
Chapter Six Gershwin among His Friends -
Chapter Seven Later Studies -
Chapter Eight Gershwin and the Great Tradition -
Chapter Nine Gershwin and Popular Music and Jazz after 1920 -
Chapter Ten Working Methods -
Chapter Eleven Gershwin the Man -
Chapter Twelve From “Ragging the Traumerei” (ca. 1913) to The Capitol Revue (1919) -
Chapter Thirteen From Morris Gest's Midnight Whirl (1919) to The Perfect Fool (1921) -
Chapter Fourteen From The French Doll to Our Nell (1922) -
Chapter Fifteen From The Sunshine Trail to Sweet Little Devil (1923) -
Chapter Sixteen The Rhapsody in Blue (1924) -
Chapter Seventeen The Scandals of 1924, Primrose, and Lady, Be Good! (1924) -
Chapter Eighteen Short Story, Tell Me More, and the Concerto in F (1925) -
Chapter Nineteen Tip-Toes and Song of the Flame (1925) -
Chapter Twenty Oh, Kay! and Other Works (1926) -
Chapter Twenty-One Strike Up the Band and Funny Face (1927) -
Chapter Twenty-Two Rosalie and Treasure Girl (1928) -
Chapter Twenty-Three An American in Paris (1928) and East Is West (1929) -
Chapter Twenty-Four Show Girl and The Dybbuk (1929) -
Chapter Twenty-Five Girl Crazy (1930) -
Chapter Twenty-Six Delicious and the Second Rhapsody (1931) -
Chapter Twenty-Seven Of Thee I Sing (1931) -
Chapter Twenty-Eight George Gershwin's Song-Book (1932) -
Chapter Twenty-Nine The Cuban Overture (1932) and Pardon My English (1933) -
Chapter Thirty Let ʼEm Eat Cake (1933) and Variations on “I Got Rhythm” (1934) -
Chapter Thirty-One Porgy and Bess (1935) -
Chapter Thirty-Two The First Production of Porgy and Bess -
Chapter Thirty-Three Porgy and Bess in Revival -
Chapter Thirty-Four Porgy and Bess on Disc, Film, and the Concert Stage -
Chapter Thirty-Five From Swing Is King (1936) to A Damsel in Distress (1937) -
Chapter Thirty-Six From The Goldwyn Follies (1938) to Kiss Me, Stupid (1964) - Conclusion
- Selected Bibliography
- Index
