Download Free The Gershwins Porgy And Bess Book in PDF and EPUB Free Download. You can read online The Gershwins Porgy And Bess and write the review.

Michael Feinstein was just 20 years old when he got the chance of a lifetime: a job with his hero, Ira Gershwin. During their six-year partnership, Feinstein blossomed under Gershwin's mentorship and Gershwin was reinvigorated by the younger man's zeal. Now, in The Gershwins and Me, Michael Feinstein shares unforgettable stories and reminiscences from the music that defined American popular song, along with rare Gershwin memorabilia he's collected through the years. Includes an accompanying CD packed with Feinstein's original recordings of 12 Gershwins' songs.
Basis for light opera Porgy and Bess. Story of crippled Negro beggar and his friends and enemies in Charleston, S.C.
(Amadeus). In 1935 George Gershwin continued the melding of theatrical, classical, and jazz idioms he began with "Rhapsody in Blue," bringing DuBose Heyward's novel and play Porgy to the musical stage with Porgy and Bess . Collaborating with his brother Ira and Heyward, Gershwin created what was deemed at the time a "folk opera" a work that over the years has passed through cycles of praise and criticism, finally achieving recognition as a great American theatrical achievement and inclusion in the repertoire of opera companies around the world. In this lavishly illustrated 75th anniversary volume, created with the participation of the Gershwin estate, opera producer and author Robin Thompson recounts the history of Porgy and Bess as he looks at the various interpretations of the work and the many layers of meaning to be found in the story of the crippled Porgy, the conflicted and vulnerable Bess, the dope peddler Sportin' Life, and the other residents of Catfish Row. Packed with unique, rarely seen archival photographs and documents associated with the production, Porgy and Bess commemorates this uniquely American blending of musical, ethnic, and creative styles and the people, the performers, and the times that produced it.
The life of a beloved American composer reflected through his music, writings, and letters. New York City native and gifted pianist George Gershwin blossomed as an accompanist before his talent as a songwriter opened the way to Broadway, where he fashioned his own brand of American music. He composed a long run of musical comedies, many with his brother Ira as lyricist, but his aspirations reached beyond commercial success. A lifetime learner, Gershwin was able to appeal to listeners on both sides of the purported popular-classical divide. In 1924—when he was just twenty-five—he bridged that gap with his first instrumental composition, Rhapsody in Blue, an instant classic premiered by Paul Whiteman’s jazz orchestra, as the anchor of a concert entitled “An Experiment in Modern Music.” From that time forward his work as a composer, pianist, and citizen of the Jazz Age made him in some circles a leader on America’s musical scene. The late1920s found him extending the range of the shows he scored to include the United Kingdom, and he published several articles to reveal his thinking about a range of musical matters. Moreover, having polished his skills as an orchestrator, he pushed boundaries again in 1935 with the groundbreaking folk opera, Porgy and Bess—his magnum opus. Gershwin’s talent and warmth made him a presence in New York’s musical and social circles (and linked him romantically with pianist-composer Kay Swift). In 1936 he and Ira moved west to write songs for Hollywood. Their work was cut short, however, when George developed a brain tumor and died at thirty-eight, a beloved American artist. Drawing extensively from letters and contemporaneous accounts, acclaimed music historian Richard Crawford traces the arc of Gershwin’s remarkable life, seamlessly blending colorful anecdotes with a discussion of Gershwin’s unforgettable oeuvre. His days on earth were limited to the summertime of life. But the spirit and inventive vitality of the music he left behind lives on.
From classic films like Carmen Jones to contemporary works like The Diary of Sally Hemings and U-Carmen eKhayelitsa, American and South African artists and composers have used opera to reclaim black people's place in history. Naomi André draws on the experiences of performers and audiences to explore this music's resonance with today's listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate. Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship.
A collection of articles, biographical reminiscences, reviews, musical analyses, and letters relating to the life and music of George Gershwin.
Analyzing Opera: Verdi and Wagner explores the latest developments in opera analysis by considering, side by side, the works of the two greatest opera composers of the nineteenth century. Although the juxtaposition is not new, comparative studies have tended to view these masters as radically different both as musicians and as musical dramatists. Wagner and his "symphonic opera" set against Verdi "the melodist" is one of many familiar antitheses, and it serves to highlight the particular terms from which comparisons are often made. In this book some of the leading and most innovative music scholars challenge this view, suggesting that as we become more distant from the nineteenth century, we may see that Verdi and Wagner confronted largely similar problems, and even on occasion found similar solutions. But more than this, Analyzing Opera sets out to demonstrate the richness and variety of modern analytical approaches to the genre. As the editors point out in their introduction, today's musical scholars increasingly question the usefulness of organicist theories in analytical studies, and, as they do so, opera seems to become an ever more central area of investigation. Opera is peculiar: its clash of verbal, musical, and visual systems can produce incongruities and extravagant miscalculations. It invites a multiplicity of approaches, challenges orthodoxy, and embraces ambiguity. The sheer variety of essays presented here is witness to this fact and suggests that analyzing opera is one of the liveliest (and most polemical) areas in modern-day musical scholarship. Contributors: Philip Gossett, John Deathridge, James A. Hepokoski, Joseph Kerman, Thomas S. Grey, Matthew Brown, Anthony Newcomb, Martin Chusid, David Lawton, and Patrick McCreless. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989.