- published: 25 Oct 2011
- views: 3472
- author: centurygirl1
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Famous quotes by Ira Gershwin:
"A song without music is a lot like H2 without the O."
"a terrible movie."
"Old age adds to the respect due to virtue, but it takes nothing from the contempt inspired by vice; it whitens only the hair."
"One can be very happy without demanding that others agree with them."
"Deep, unspeakable suffering may well be called a baptism, a regeneration, the initiation into a new state"
"Life is one long jubilee."
"Love is sweeping the country."
"Deep, unspeakable suffering may well be called a baptism, a regeneration, the initiation into a new state."
RELEASE
ALBUMS
- Overture
- The Moon Is on the Sea
- When Our Ship Comes Sailing In
- Don’t Ask
- Someone to Watch Over Me
- The Woman’s Touch
- Dear Little Girl
- Maybe
- Clap Yo’ Hands
- Do, Do, Do
- Finale Act I
- Entr’acte
- Bride and Groom
- Ain’t It Romantic?
- Fidgety Feet
- Heaven on Earth
- Finaletto Act II, Scene I
- Dance Speciatly
- Oh, Kay!
- Finale Ultimo
Born: 1896-12-06
Died: 1983-08-17
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George and Ira Gershwin Speak
- Order: Reorder
- Duration: 3:20
- Updated: 19 May 2013
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
http://wn.com/George_and_Ira_Gershwin_Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
Ira Gershwin talks about George Gershwin
- Order: Reorder
- Duration: 6:14
- Updated: 23 Apr 2013
Ira Gershwin talks about George Gershwin.
http://wn.com/Ira_Gershwin_talks_about_George_Gershwin
George and Ira Gershwin - Someone to Watch Over Me
- Order: Reorder
- Duration: 2:50
- Updated: 14 May 2013
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
http://wn.com/George_and_Ira_Gershwin_Someone_to_Watch_Over_Me
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
- published: 03 Jun 2012
- views: 2249
- author: CurtisandCoyne
Meeting Ira Gershwin
- Order: Reorder
- Duration: 4:09
- Updated: 09 May 2013
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
http://wn.com/Meeting_Ira_Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
- published: 11 Feb 2007
- views: 8649
- author: Richard Glazier
Someone to Watch Over Me (Gershwin-Turrin) - Piano/Vocal Cover
- Order: Reorder
- Duration: 3:41
- Updated: 28 May 2013
If you like this song or my playing/singing, please join the new announcement mailing list. Just go here, enter your email, and click subscribe. You'll get a...
http://wn.com/Someone_to_Watch_Over_Me_Gershwin-Turrin_Piano_Vocal_Cover
If you like this song or my playing/singing, please join the new announcement mailing list. Just go here, enter your email, and click subscribe. You'll get a...
- published: 09 Oct 2012
- views: 161217
- author: BenG PianoVocals
Our Love is Here to Stay by George & Ira Gershwin
- Order: Reorder
- Duration: 3:10
- Updated: 20 May 2013
Our Love is Here to Stay [1937] by George Gershwin, lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Photos of New York City, March 2009, by Paul...
http://wn.com/Our_Love_is_Here_to_Stay_by_George_Ira_Gershwin
Our Love is Here to Stay [1937] by George Gershwin, lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Photos of New York City, March 2009, by Paul...
- published: 20 Jun 2009
- views: 35351
- author: oakroom48
Ella Fitzgerald Someone To Watch Over Me
- Order: Reorder
- Duration: 3:14
- Updated: 23 May 2013
A true Gershwin Classic.
http://wn.com/Ella_Fitzgerald_Someone_To_Watch_Over_Me
I've Got Rhythm: Tribute to William Robinson
- Order: Reorder
- Duration: 3:23
- Updated: 21 May 2013
Ella Fitzgerald sings I've Got Rhythm. Bill "Bojangles" Robinson (May 25, 1878 -- November 25, 1949) was an American tap dancer and actor of stage and film. ...
http://wn.com/I've_Got_Rhythm_Tribute_to_William_Robinson
Ella Fitzgerald sings I've Got Rhythm. Bill "Bojangles" Robinson (May 25, 1878 -- November 25, 1949) was an American tap dancer and actor of stage and film. ...
- published: 21 Dec 2009
- views: 37259
- author: Shabannie's Tribute Videos
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson
- Order: Reorder
- Duration: 3:19
- Updated: 18 Apr 2013
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson This is a wonderful - but under played standard. Music is by Kurt Weill. It has lots of opportuni...
http://wn.com/My_Ship_Ira_Gershwin_and_Kurt_Weill_jazz_piano_lesson
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson This is a wonderful - but under played standard. Music is by Kurt Weill. It has lots of opportuni...
- published: 05 Apr 2009
- views: 20165
- author: jazz2511
Gene Kelly, George Gershwin, Ira Gershwin - Love Is Here to Stay - JazzAndBluesExperience
- Order: Reorder
- Duration: 4:12
- Updated: 22 May 2013
TELECHARGEZ LES 50 TITRES INDISPENSABLES DU JAZZ A SEULEMENT 5.99€ ! » Cliquez ici : http://bit.ly/Qir5YB JazzAndBluesExperience - (Re)Discover the Jazz an...
http://wn.com/Gene_Kelly,_George_Gershwin,_Ira_Gershwin_Love_Is_Here_to_Stay_JazzAndBluesExperience
TELECHARGEZ LES 50 TITRES INDISPENSABLES DU JAZZ A SEULEMENT 5.99€ ! » Cliquez ici : http://bit.ly/Qir5YB JazzAndBluesExperience - (Re)Discover the Jazz an...
- published: 09 Jul 2012
- views: 15961
- author: JazznBluesExperience
SUMMERTIME - George & Ira Gershwin
- Order: Reorder
- Duration: 4:37
- Updated: 25 Apr 2013
Big Band del Conservatorio de Utiel · Alicia Martínez, voz · Marcos Forner, director · Teatro Rambal - Mayo 2010.
http://wn.com/SUMMERTIME_George_Ira_Gershwin
Big Band del Conservatorio de Utiel · Alicia Martínez, voz · Marcos Forner, director · Teatro Rambal - Mayo 2010.
- published: 21 Jun 2010
- views: 1486
- author: Miguel Angel Mateu
" By Strauss" by Ira Gershwin (Words) George Gershwin (Music) Cole Porter Years PART 8
- Order: Reorder
- Duration: 3:00
- Updated: 29 Nov 2012
" By Strauss" by Ira Gershwin (Words) George Gershwin (Music) Porter Years PART 8 George Gershwin, with lyrics by Ira Gershwin. Sung by Lisa Patrice Hamil Eu...
http://wn.com/_By_Strauss_by_Ira_Gershwin_Words_George_Gershwin_Music_Cole_Porter_Years_PART_8
" By Strauss" by Ira Gershwin (Words) George Gershwin (Music) Porter Years PART 8 George Gershwin, with lyrics by Ira Gershwin. Sung by Lisa Patrice Hamil Eu...
- published: 13 Jun 2011
- views: 2891
- author: LPHamil
George & Ira Gershwin Kickin' the clouds away
- Order: Reorder
- Duration: 3:21
- Updated: 17 Aug 2012
From the CD 'George & Ira Gershwin: A Musical Celebration' done for the APLA tribute concert.
http://wn.com/George_Ira_Gershwin_Kickin'_the_clouds_away
From the CD 'George & Ira Gershwin: A Musical Celebration' done for the APLA tribute concert.
- published: 23 Jun 2010
- views: 1660
- author: carecare91
Sarah Vaughan - The Man I Love by George and Ira Gershwin
- Order: Reorder
- Duration: 4:01
- Updated: 12 May 2013
MY FAVORITE JAZZ VOCALISTS (FEMALE) HORS CONCOURS: Ella Fitzgerald 1st place: Sarah Vaughan "The Man I Love" is a popular standard, with music by George Gers...
http://wn.com/Sarah_Vaughan_The_Man_I_Love_by_George_and_Ira_Gershwin
MY FAVORITE JAZZ VOCALISTS (FEMALE) HORS CONCOURS: Ella Fitzgerald 1st place: Sarah Vaughan "The Man I Love" is a popular standard, with music by George Gers...
- published: 02 Jun 2011
- views: 7690
- author: I´M STILL LOVING THE OLD FASHION JAZZ
I GOT RHYTHM (George & Ira Gershwin)
- Order: Reorder
- Duration: 3:19
- Updated: 12 Apr 2013
The "Bratislava Hot Serenaders". Listening and looking to this Orchestra is like coming into a time capsule: everything is vintage,songs, arrangements, solos...
http://wn.com/I_GOT_RHYTHM_George_Ira_Gershwin
The "Bratislava Hot Serenaders". Listening and looking to this Orchestra is like coming into a time capsule: everything is vintage,songs, arrangements, solos...
- published: 14 Aug 2011
- views: 1530
- author: tenorbanjo4
Soon by George and Ira Gershwin arr. Don Schamber
- Order: Reorder
- Duration: 4:44
- Updated: 20 Mar 2013
CSULB Studio Jazz Band, Jeff Jarvis Director.
http://wn.com/Soon_by_George_and_Ira_Gershwin_arr_Don_Schamber
Nancy Wilson & George & Ira Gershwin- Someone to Watch Over Me
- Order: Reorder
- Duration: 2:35
- Updated: 15 May 2013
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, t...
http://wn.com/Nancy_Wilson_George_Ira_Gershwin_Someone_to_Watch_Over_Me
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, t...
- published: 10 May 2010
- views: 6216
- author: cjchambers2982
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin
- Order: Reorder
- Duration: 3:35
- Updated: 01 May 2013
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin Accompanied on the piano by Peter Walsh. Sound recorded by William Rahko.
http://wn.com/Eleni_Pantages_sings_Blah,_Blah,_Blah_by_Ira_Gershwin
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin Accompanied on the piano by Peter Walsh. Sound recorded by William Rahko.
- published: 11 May 2010
- views: 7066
- author: ODAproductions
Love is here to stay - George Gershwin and Ira Gershwin
- Order: Reorder
- Duration: 3:34
- Updated: 16 Dec 2012
The Greeners' Sound presents - Love is here to stay @The Greeners' Sound Annual Concert 2012 - Greeneration Love is here to stay George Gershwin and Ira Gers...
http://wn.com/Love_is_here_to_stay_George_Gershwin_and_Ira_Gershwin
The Greeners' Sound presents - Love is here to stay @The Greeners' Sound Annual Concert 2012 - Greeneration Love is here to stay George Gershwin and Ira Gers...
- published: 22 Aug 2012
- views: 879
- author: TheGreenersSound
Lady Be Good (George & Ira Gershwin)
- Order: Reorder
- Duration: 3:38
- Updated: 18 Dec 2012
Daniel Lapp on violin and Quinn Bachand on guitar play jazz standard "Lady Be Good" by George & Ira Gershwin, at the Irish Times Pub, in Victoria, B.C. on No...
http://wn.com/Lady_Be_Good_George_Ira_Gershwin
Daniel Lapp on violin and Quinn Bachand on guitar play jazz standard "Lady Be Good" by George & Ira Gershwin, at the Irish Times Pub, in Victoria, B.C. on No...
- published: 28 Nov 2007
- views: 12998
- author: TheBachands
Shall We Dance - George and Ira Gershwin
- Order: Reorder
- Duration: 2:16
- Updated: 22 May 2012
More of the concert from 2004 at Palacio Foz "Broadway and Film Classics" sponsored by the U.S. Embassy on Feb. 17th, 2004.
http://wn.com/Shall_We_Dance_George_and_Ira_Gershwin
More of the concert from 2004 at Palacio Foz "Broadway and Film Classics" sponsored by the U.S. Embassy on Feb. 17th, 2004.
- published: 12 Nov 2010
- views: 3603
- author: JoeCoronado1962
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
- Order: Reorder
- Duration: 4:33
- Updated: 28 Dec 2012
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
http://wn.com/GEORGE_IRA_GERSHWIN_SASHA_COHEN_27_THE_GIRL_I_LOVE_HOTTEST_SKATE_OF_ALL_TIME_!_1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
- published: 16 Jan 2012
- views: 2543
- author: LISZTIZATION
PETER MINTUN: Mine (George Gershwin-Ira Gershwin) 1933
- Order: Reorder
- Duration: 4:05
- Updated: 15 May 2013
"Mine" was the only popular song to come out of the Gershwin show 'Let 'Em Eat Cake.' It has two melodies that are meant to be sung as a duet. The first pair...
http://wn.com/PETER_MINTUN_Mine_George_Gershwin-Ira_Gershwin_1933
"Mine" was the only popular song to come out of the Gershwin show 'Let 'Em Eat Cake.' It has two melodies that are meant to be sung as a duet. The first pair...
- published: 28 Mar 2010
- views: 4365
- author: Peter Mintun
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Meeting Ira Gershwin
- Order: Reorder
- Duration: 4:09
- Updated: 09 May 2013
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
http://wn.com/Meeting_Ira_Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
- published: 11 Feb 2007
- views: 8649
- author: Richard Glazier
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
- Order: Reorder
- Duration: 4:33
- Updated: 28 Dec 2012
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
http://wn.com/GEORGE_IRA_GERSHWIN_SASHA_COHEN_27_THE_GIRL_I_LOVE_HOTTEST_SKATE_OF_ALL_TIME_!_1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
- published: 16 Jan 2012
- views: 2543
- author: LISZTIZATION
Brandon Cordeiro singing "Love is Here to Stay" (George & Ira Gershwin)
- Order: Reorder
- Duration: 1:40
- Updated: 11 Oct 2012
Brandon Cordeirong singing "Love is Here to Stay" from George & Ira Gershwin's 1938 movie "The Goldwyn Follies" Piano; James Olmstead - www.jamesolmstead.com...
http://wn.com/Brandon_Cordeiro_singing_Love_is_Here_to_Stay_George_Ira_Gershwin
Brandon Cordeirong singing "Love is Here to Stay" from George & Ira Gershwin's 1938 movie "The Goldwyn Follies" Piano; James Olmstead - www.jamesolmstead.com...
- published: 11 Oct 2012
- views: 54
- author: Brandon Cordeiro
Looking For A Boy (George & Ira Gershwin) from TIP TOES, played by Harry Perrella
- Order: Reorder
- Duration: 2:55
- Updated: 13 May 2013
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close history and association with the music of George Gershwin. Harry Pe...
http://wn.com/Looking_For_A_Boy_George_Ira_Gershwin_from_TIP_TOES,_played_by_Harry_Perrella
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close history and association with the music of George Gershwin. Harry Pe...
- published: 13 May 2013
- views: 29
- author: Ednay Arkspay
Diana Krall - 'S Wonderful - Live HD
- Order: Reorder
- Duration: 5:00
- Updated: 28 May 2013
Live in Paris " 'S Wonderful " is a popular song composed by George Gershwin, with lyrics written by Ira Gershwin. It was introduced in the Broadway musical ...
http://wn.com/Diana_Krall_'S_Wonderful_Live_HD
Live in Paris " 'S Wonderful " is a popular song composed by George Gershwin, with lyrics written by Ira Gershwin. It was introduced in the Broadway musical ...
- published: 03 Feb 2013
- views: 4854
- author: Zenattitude
Sarah Vaughan - The Man I Love by George and Ira Gershwin
- Order: Reorder
- Duration: 4:01
- Updated: 12 May 2013
MY FAVORITE JAZZ VOCALISTS (FEMALE) HORS CONCOURS: Ella Fitzgerald 1st place: Sarah Vaughan "The Man I Love" is a popular standard, with music by George Gers...
http://wn.com/Sarah_Vaughan_The_Man_I_Love_by_George_and_Ira_Gershwin
MY FAVORITE JAZZ VOCALISTS (FEMALE) HORS CONCOURS: Ella Fitzgerald 1st place: Sarah Vaughan "The Man I Love" is a popular standard, with music by George Gers...
- published: 02 Jun 2011
- views: 7690
- author: I´M STILL LOVING THE OLD FASHION JAZZ
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ
- Order: Reorder
- Duration: 2:55
- Updated: 10 Aug 2012
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ https://www.facebook.com/artofjazz97 ArToFjAzZ lineup: Dannie Hofmann: Saxophone Stoney Dixon: Bass...
http://wn.com/Embraceable_You,_George_and_Ira_Gershwin_by_ArToFjAzZ
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ https://www.facebook.com/artofjazz97 ArToFjAzZ lineup: Dannie Hofmann: Saxophone Stoney Dixon: Bass...
- published: 15 Jun 2012
- views: 284
- author: artofjazz
My Ship (Kurt Weill/Ira Gershwin)
- Order: Reorder
- Duration: 3:52
- Updated: 13 Apr 2013
Susaye Greene, vocalist, with The Jeffrey Chin Trio: live at "Concerts at the Cadillac" at the Cadillac Hotel in San Francisco, December 2, 2011. Susaye was ...
http://wn.com/My_Ship_Kurt_Weill_Ira_Gershwin
Susaye Greene, vocalist, with The Jeffrey Chin Trio: live at "Concerts at the Cadillac" at the Cadillac Hotel in San Francisco, December 2, 2011. Susaye was ...
- published: 18 Jan 2012
- author: LWalkup
Rachel Sermanni - But Not For Me (George & Ira Gershwin)
- Order: Reorder
- Duration: 1:34
- Updated: 01 May 2013
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvloed.com.
http://wn.com/Rachel_Sermanni_But_Not_For_Me_George_Ira_Gershwin
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvloed.com.
- published: 26 Apr 2013
- views: 115
- author: matthijsvanderven
George and Ira Gershwin Speak
- Order: Reorder
- Duration: 3:20
- Updated: 19 May 2013
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
http://wn.com/George_and_Ira_Gershwin_Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
- published: 25 Oct 2011
- views: 3472
- author: centurygirl1
Maria Farantouri Sings Gershwin - Somebody From Somewhere Someone To Watch Over Me - 28-11-2012 - 5
- Order: Reorder
- Duration: 6:31
- Updated: 02 Apr 2013
Ourania - Clouds - 10.25 Maria Farantouri - Somebody From Somewhere Someone To Watch Over Me - 5 George Gershwin/Ira Gershwin Live Recording From Athens Conc...
http://wn.com/Maria_Farantouri_Sings_Gershwin_Somebody_From_Somewhere_Someone_To_Watch_Over_Me_28-11-2012_5
Ourania - Clouds - 10.25 Maria Farantouri - Somebody From Somewhere Someone To Watch Over Me - 5 George Gershwin/Ira Gershwin Live Recording From Athens Conc...
- published: 01 Dec 2012
- views: 14
- author: 7thalassa7
Maria Farantouri Sings George Gershwin - Embraceable You - 28-11-2012 - 1
- Order: Reorder
- Duration: 4:13
- Updated: 03 Apr 2013
Ourania - Clouds - 10.00 Maria farantouri - Embraceable You - 1 George Gershwin/Ira Gershwin Live Recording From Athens Concert Hall, February 22, 2006 The O...
http://wn.com/Maria_Farantouri_Sings_George_Gershwin_Embraceable_You_28-11-2012_1
Ourania - Clouds - 10.00 Maria farantouri - Embraceable You - 1 George Gershwin/Ira Gershwin Live Recording From Athens Concert Hall, February 22, 2006 The O...
- published: 01 Dec 2012
- views: 8
- author: 7thalassa7
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin
- Order: Reorder
- Duration: 4:04
- Updated: 10 Mar 2013
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin Natalia Shevchenko - vocal Myroslav Pasichnjak - saxophone Roman Mykytjuk - piano Oleksiy Tujesh...
http://wn.com/ART_PRESTIGE_QUARTET_I_Got_Rhythm_by_George_Ira_Gershwin
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin Natalia Shevchenko - vocal Myroslav Pasichnjak - saxophone Roman Mykytjuk - piano Oleksiy Tujesh...
- published: 23 Jan 2013
- views: 72
- author: Arsen Buchynsky
Ask Me Again by George & Ira Gershwin played by Simon Want
- Order: Reorder
- Duration: 2:50
- Updated: 10 Mar 2013
I think this is a beautiful song but, surprisingly, I can't get any info off the net by my usual 'type in the lyrics' method. I know it from listening to Mic...
http://wn.com/Ask_Me_Again_by_George_Ira_Gershwin_played_by_Simon_Want
I think this is a beautiful song but, surprisingly, I can't get any info off the net by my usual 'type in the lyrics' method. I know it from listening to Mic...
- published: 23 Aug 2010
- views: 917
- author: PianoFatso
Love is here to stay - George Gershwin and Ira Gershwin
- Order: Reorder
- Duration: 3:34
- Updated: 16 Dec 2012
The Greeners' Sound presents - Love is here to stay @The Greeners' Sound Annual Concert 2012 - Greeneration Love is here to stay George Gershwin and Ira Gers...
http://wn.com/Love_is_here_to_stay_George_Gershwin_and_Ira_Gershwin
The Greeners' Sound presents - Love is here to stay @The Greeners' Sound Annual Concert 2012 - Greeneration Love is here to stay George Gershwin and Ira Gers...
- published: 22 Aug 2012
- views: 879
- author: TheGreenersSound
They Can't Take That Away From Me (George & Ira Gershwin)
- Order: Reorder
- Duration: 2:47
- Updated: 13 Mar 2013
West End Singers with Alex Silverman, MD, and accompanist Richard Scott-Copeland. Christmas Celebrations Concert at The Point Theatre, Eastleigh, December 20...
http://wn.com/They_Can't_Take_That_Away_From_Me_George_Ira_Gershwin
West End Singers with Alex Silverman, MD, and accompanist Richard Scott-Copeland. Christmas Celebrations Concert at The Point Theatre, Eastleigh, December 20...
- published: 27 Mar 2012
- views: 485
- author: Angela Jackson
A foggy day (George Gershwin / Ira Gershwin)
- Order: Reorder
- Duration: 3:54
- Updated: 30 Nov 2012
Combos - Fundação das Artes de São Caetano do Sul
26.11.12 - Sesc São Caetano
orientação - Ogair Jr.
Alexandre Silva Barroso - bateria
Diego Armando - baixo
Leandro Kenji Oshiro - guitarra
Luiz Fernando Viola Bortolin - guitarra
http://wn.com/A_foggy_day_George_Gershwin_Ira_Gershwin
Combos - Fundação das Artes de São Caetano do Sul
26.11.12 - Sesc São Caetano
orientação - Ogair Jr.
Alexandre Silva Barroso - bateria
Diego Armando - baixo
Leandro Kenji Oshiro - guitarra
Luiz Fernando Viola Bortolin - guitarra
- published: 30 Nov 2012
- views: 23
DIANA KRALL - 'S WONDEFUL - GEORGE & IRA GERSHWIN
- Order: Reorder
- Duration: 5:03
- Updated: 13 May 2013
ORQUESTA DIRIGIDA POR CLAUS OGERMAN LETRA DE 'S WONDERFUL 's wonderful! 's marvelous! You should care for me! 's awful nice! 's paradise! 's what I love to s...
http://wn.com/DIANA_KRALL_'S_WONDEFUL_GEORGE_IRA_GERSHWIN
ORQUESTA DIRIGIDA POR CLAUS OGERMAN LETRA DE 'S WONDERFUL 's wonderful! 's marvelous! You should care for me! 's awful nice! 's paradise! 's what I love to s...
- published: 14 Feb 2013
- author: ARCHIVOS BOESMI
George and Ira Gershwin - Someone to Watch Over Me
- Order: Reorder
- Duration: 2:50
- Updated: 14 May 2013
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
http://wn.com/George_and_Ira_Gershwin_Someone_to_Watch_Over_Me
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
- published: 03 Jun 2012
- views: 2249
- author: CurtisandCoyne
How Long has this been going on? by Geo & Ira Gershwin
- Order: Reorder
- Duration: 5:24
- Updated: 08 Jan 2012
New York nostalgic ... How Long has this been going on? [1927] by George Gershwin - lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Richard Lall...
http://wn.com/How_Long_has_this_been_going_on?_by_Geo_Ira_Gershwin
New York nostalgic ... How Long has this been going on? [1927] by George Gershwin - lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Richard Lall...
- published: 02 Jul 2009
- views: 4659
- author: oakroom48
George & Ira Gershwin Kickin' the clouds away
- Order: Reorder
- Duration: 3:21
- Updated: 17 Aug 2012
From the CD 'George & Ira Gershwin: A Musical Celebration' done for the APLA tribute concert.
http://wn.com/George_Ira_Gershwin_Kickin'_the_clouds_away
From the CD 'George & Ira Gershwin: A Musical Celebration' done for the APLA tribute concert.
- published: 23 Jun 2010
- views: 1660
- author: carecare91
Kurt Weill Ira Gershwin "My Ship"
- Order: Reorder
- Duration: 2:38
- Updated: 07 Jan 2012
Music by Kurt Weill lyrics by Ira Gershwin "my Ship" performed by Sharon Sclarr from live Cabaret show in April, 2010 London, UK Piano - Katya Nikonorova.
http://wn.com/Kurt_Weill_Ira_Gershwin_My_Ship
Music by Kurt Weill lyrics by Ira Gershwin "my Ship" performed by Sharon Sclarr from live Cabaret show in April, 2010 London, UK Piano - Katya Nikonorova.
- published: 07 Oct 2010
- author: Selightltd
POOR JESSE- apologies to Kurt Weil, Ira Gershwin, and Broadway Bear.
- Order: Reorder
- Duration: 1:01
- Updated: 03 Dec 2012
http://wn.com/POOR_JESSE_apologies_to_Kurt_Weil,_Ira_Gershwin,_and_Broadway_Bear
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Kurt Weill Ira Gershwin The Firebrand of Florerce Thomas Hampson baritone
- Order: Reorder
- Duration: 38:44
- Updated: 03 May 2013
Photo: Thomas Hampson Kurt Weill - Ira Gershwin The Firebrand of Florence 1 - Song of the Hangmann 2 - Come to Florence 3 - My Lords and Ladies 4 - Life, lov...
http://wn.com/Kurt_Weill_Ira_Gershwin_The_Firebrand_of_Florerce_Thomas_Hampson_baritone
Photo: Thomas Hampson Kurt Weill - Ira Gershwin The Firebrand of Florence 1 - Song of the Hangmann 2 - Come to Florence 3 - My Lords and Ladies 4 - Life, lov...
- published: 06 Jan 2013
- views: 148
- author: Hans Friedrich Gunther
EXTENDED - RELAXING 3D: But Not For Me! (Girl Crazy - Gershwin) - In Beautiful 1080p!!!
- Order: Reorder
- Duration: 22:32
- Updated: 23 May 2013
"But Not for Me" is a popular song, composed by George Gershwin, with lyrics by Ira Gershwin. It was written for their musical Girl Crazy (1930) and introduc...
http://wn.com/EXTENDED_RELAXING_3D_But_Not_For_Me!_Girl_Crazy_Gershwin_In_Beautiful_1080p!!!
"But Not for Me" is a popular song, composed by George Gershwin, with lyrics by Ira Gershwin. It was written for their musical Girl Crazy (1930) and introduc...
- published: 06 Jul 2012
- views: 1160
- author: Howdy Your-Friend
George Gershwin - Documentário Legendado
- Order: Reorder
- Duration: 53:53
- Updated: 21 Apr 2013
Nascido no Brooklyn, Nova York, com o nome de Jacob Gershowitz, filho de pais imigrantes judeus, oriundos da Rússia, aos 15 anos George já era um talentoso p...
http://wn.com/George_Gershwin_Documentário_Legendado
Nascido no Brooklyn, Nova York, com o nome de Jacob Gershowitz, filho de pais imigrantes judeus, oriundos da Rússia, aos 15 anos George já era um talentoso p...
- published: 17 Oct 2012
- views: 495
- author: Docspt Arte
Bill Evans Trio - Live in Rome (1979r)
- Order: Reorder
- Duration: 44:32
- Updated: 21 May 2013
Bill Evans Trio - Live in Rome (1979r) http://www.jazzmessengers.com/ I believe it was an old friend, Bill Byam, who first told me of this DVD of the last tr...
http://wn.com/Bill_Evans_Trio_Live_in_Rome_1979r
Bill Evans Trio - Live in Rome (1979r) http://www.jazzmessengers.com/ I believe it was an old friend, Bill Byam, who first told me of this DVD of the last tr...
- published: 07 May 2013
- views: 257
- author: MegaEnrico56
![Chet Baker Quartet- I Can't Get Started - Live in Palermo 1976[FULL ALBUM]](http://web.archive.org./web/20130528185141im_/http://i.ytimg.com/vi/ZeLpE3INrOI/default.jpg "Chet Baker Quartet- I Can't Get Started - Live in Palermo 1976[FULL ALBUM]")
Chet Baker Quartet- I Can't Get Started - Live in Palermo 1976[FULL ALBUM]
- Order: Reorder
- Duration: 75:41
- Updated: 06 May 2013
01 SOLAR-00.00(Miles Davis) 02 THERE WILL NEVER BE ANOTHER YOU-11:37 (Harry Warren-Mack Gordon) 03 MILESTONES -20:20 (Miles Davis) 04 MY FUNNY VALENTTNE-33:1...
http://wn.com/Chet_Baker_Quartet_I_Can't_Get_Started_Live_in_Palermo_1976_FULL_ALBUM_
01 SOLAR-00.00(Miles Davis) 02 THERE WILL NEVER BE ANOTHER YOU-11:37 (Harry Warren-Mack Gordon) 03 MILESTONES -20:20 (Miles Davis) 04 MY FUNNY VALENTTNE-33:1...
- published: 07 Apr 2013
- views: 308
- author: friusmikon
NYSL: Michael Lasser on "Love is Here to Stay"
- Order: Reorder
- Duration: 75:59
- Updated: 07 Oct 2011
http://www.nysoclib.org/notes/2010/love_gershwin.html The speaker and musicians who brought you Mingling with the Old-Time Throng: Love Songs for New York in...
http://wn.com/NYSL_Michael_Lasser_on_Love_is_Here_to_Stay
http://www.nysoclib.org/notes/2010/love_gershwin.html The speaker and musicians who brought you Mingling with the Old-Time Throng: Love Songs for New York in...
- published: 14 Oct 2010
- views: 540
- author: nysoclib
Harry Connick Jr. - The New York Big Band Concert
- Order: Reorder
- Duration: 59:34
- Updated: 27 May 2013
Live at the Paramount Theatre, New York City, 1992 Track list: 1. Sweet Georgia Brown (Kenneth Casey, Maceo Pinkard, Ben Bernie) -- 3:29 2. Don't Get Around ...
http://wn.com/Harry_Connick_Jr_The_New_York_Big_Band_Concert
Live at the Paramount Theatre, New York City, 1992 Track list: 1. Sweet Georgia Brown (Kenneth Casey, Maceo Pinkard, Ben Bernie) -- 3:29 2. Don't Get Around ...
- published: 27 Feb 2013
- views: 8799
- author: Canal de Gabiurki
Chet Baker Sings - Pacific Jazz (PJLP-11) 10" (full album)
- Order: Reorder
- Duration: 23:52
- Updated: 23 May 2013
Album: Chet Baker Sings Artist: Chet Baker Label: Pacific Jazz (PJLP-11) Format: 10" LP Year: 1954 I am fairly certain most of these songs are already on You...
http://wn.com/Chet_Baker_Sings_Pacific_Jazz_PJLP-11_10_full_album
Album: Chet Baker Sings Artist: Chet Baker Label: Pacific Jazz (PJLP-11) Format: 10" LP Year: 1954 I am fairly certain most of these songs are already on You...
- published: 06 Oct 2012
- views: 15423
- author: Indie Handbook
Miles Davis + 19 Miles Ahead Full Album
- Order: Reorder
- Duration: 37:05
- Updated: 18 May 2013
Tracks "Springsville" (John Carisi) "The Maids of Cadiz" (Léo Delibes) "The Duke" (Dave Brubeck) "My Ship" (Kurt Weill) Ira Gershwin wrote lyrics for this so...
http://wn.com/Miles_Davis_+_19_Miles_Ahead_Full_Album
Tracks "Springsville" (John Carisi) "The Maids of Cadiz" (Léo Delibes) "The Duke" (Dave Brubeck) "My Ship" (Kurt Weill) Ira Gershwin wrote lyrics for this so...
- published: 03 Sep 2012
- views: 11381
- author: JazzSessions4Thee
Charles Mingus - Pithecanthropus Erectus (full album)
- Order: Reorder
- Duration: 36:39
- Updated: 21 May 2013
Pubblicazione: 1956 Etichetta: Atlantic Records Durata complessiva: 36.39 1. Pithecanthropus Erectus -- 00:06 2. A Foggy Day -- 10:40 - (George Gershwin, Ira...
http://wn.com/Charles_Mingus_Pithecanthropus_Erectus_full_album
Pubblicazione: 1956 Etichetta: Atlantic Records Durata complessiva: 36.39 1. Pithecanthropus Erectus -- 00:06 2. A Foggy Day -- 10:40 - (George Gershwin, Ira...
- published: 06 Apr 2012
- views: 25533
- author: Effetto Notte
Anna Moffo : Porgy and Bess
- Order: Reorder
- Duration: 23:56
- Updated: 04 Apr 2013
Porgy and Bess est un opéra composé par George Gershwin sur un livret de Ira Gershwin et de Edwin DuBose Heyward, basé sur le roman Porgy (1925), écrit par D...
http://wn.com/Anna_Moffo_Porgy_and_Bess
Porgy and Bess est un opéra composé par George Gershwin sur un livret de Ira Gershwin et de Edwin DuBose Heyward, basé sur le roman Porgy (1925), écrit par D...
- published: 12 Oct 2012
- views: 189
- author: LIRIC13NPM
Lytle Memorial Scholarship Concert: The Naked Gershwin
- Order: Reorder
- Duration: 71:25
- Updated: 07 Apr 2013
Pianist Cecil Lytle, narrator Arthur Wagner and guests present The Naked Gershwin, a hilarious and educational program of music and letters to, from, or abou...
http://wn.com/Lytle_Memorial_Scholarship_Concert_The_Naked_Gershwin
Pianist Cecil Lytle, narrator Arthur Wagner and guests present The Naked Gershwin, a hilarious and educational program of music and letters to, from, or abou...
- published: 31 Jan 2008
- views: 482
- author: UCtelevision
Maysa - Sings songs before dawn (disco completo)
- Order: Reorder
- Duration: 42:05
- Updated: 19 Apr 2013
Disco de Maysa nos EUA gravado em 1961. Músicas: 1 - You better go now (Robert Graham / Bicley Reichner) 2 - Something to remember you by (Howard Dietz / Art...
http://wn.com/Maysa_Sings_songs_before_dawn_disco_completo
Disco de Maysa nos EUA gravado em 1961. Músicas: 1 - You better go now (Robert Graham / Bicley Reichner) 2 - Something to remember you by (Howard Dietz / Art...
- published: 21 Oct 2012
- views: 567
- author: Andrei Israel
Shirley Bassey - You Ain't Heard Nothing Yet (1985)
- Order: Reorder
- Duration: 50:24
- Updated: 21 May 2013
Shirley Bassey Gala Concert Wales 1985. Ширли Бэсси. Концерт в Уэльсе. В программе концерта - эстрадные хиты середины ХХ века, отрывки из мюзиклов и песни с ...
http://wn.com/Shirley_Bassey_You_Ain't_Heard_Nothing_Yet_1985
Shirley Bassey Gala Concert Wales 1985. Ширли Бэсси. Концерт в Уэльсе. В программе концерта - эстрадные хиты середины ХХ века, отрывки из мюзиклов и песни с ...
- published: 22 Feb 2013
- views: 1253
- author: postactualidad
concert with SampleSumo's live music following technology at Piano's Maene
- Order: Reorder
- Duration: 48:26
- Updated: 23 May 2013
This concert was a showcase of SampleSumo's "Music Following for Live Venues" project (in collaboration with MuseScore, iMinds and Vlaams Proeftuin Platform)...
http://wn.com/concert_with_SampleSumo's_live_music_following_technology_at_Piano's_Maene
This concert was a showcase of SampleSumo's "Music Following for Live Venues" project (in collaboration with MuseScore, iMinds and Vlaams Proeftuin Platform)...
- published: 28 Mar 2013
- views: 220
- author: SampleSumo
Michael FEINSTEIN on InnerVIEWS with Ernie Manouse
- Order: Reorder
- Duration: 26:59
- Updated: 17 May 2013
One of the premiere interpreters of popular music, Michael Feinstein's career took off after the success of his one-man Broadway show. From being Ira Gershwi...
http://wn.com/Michael_FEINSTEIN_on_InnerVIEWS_with_Ernie_Manouse
One of the premiere interpreters of popular music, Michael Feinstein's career took off after the success of his one-man Broadway show. From being Ira Gershwi...
- published: 11 Apr 2011
- views: 1000
- author: HoustonPBS
NEW YORK NEW YORK Musical Brasil Parte 2
- Order: Reorder
- Duration: 24:01
- Updated: 07 Dec 2012
Antonio Carlos Gomes acompanhou a reestreia de NEW YORK NEW YORK Versão brasileira para o espetáculo da Broadway que já ganhou adaptação para o cinema, em 19...
http://wn.com/NEW_YORK_NEW_YORK_Musical_Brasil_Parte_2
Antonio Carlos Gomes acompanhou a reestreia de NEW YORK NEW YORK Versão brasileira para o espetáculo da Broadway que já ganhou adaptação para o cinema, em 19...
- published: 16 Sep 2012
- views: 112
- author: Antonio Carlos Gomes
The North Star (1943) Full Movie
- Order: Reorder
- Duration: 105:37
- Updated: 06 May 2013
The North Star (also known as Armored Attack in the US) is a 1943 war film produced by Samuel Goldwyn Productions and distributed by RKO Radio Pictures. It w...
http://wn.com/The_North_Star_1943_Full_Movie
The North Star (also known as Armored Attack in the US) is a 1943 war film produced by Samuel Goldwyn Productions and distributed by RKO Radio Pictures. It w...
- published: 06 May 2013
- views: 27
- author: PublicDomainGeek
Erroll Garner - Concert by the Sea.wmv
- Order: Reorder
- Duration: 43:42
- Updated: 26 May 2013
Track listing "I'll Remember April" (Gene de Paul, Patricia Johnston, Don Raye) "Teach Me Tonight" (Sammy Cahn, Gene de Paul) "Mambo Carmel-by-the-sea" (Erro...
http://wn.com/Erroll_Garner_Concert_by_the_Seawmv
Track listing "I'll Remember April" (Gene de Paul, Patricia Johnston, Don Raye) "Teach Me Tonight" (Sammy Cahn, Gene de Paul) "Mambo Carmel-by-the-sea" (Erro...
- published: 01 Jan 1970
- views: 35890
- author: Jazz Sessions
Ask Sam Harris Anything #54 Adam Lambert, Concerts, Oscars, Doggy Stuff, Smile
- Order: Reorder
- Duration: 26:25
- Updated: 19 Dec 2012
Sam sings "SMILE" (Charlie Chaplin) at the end! ▻ EVENT INFO: http://samharris.com/calendar.htm March 21 & 22 The songs of George and Ira Gershwin will be th...
http://wn.com/Ask_Sam_Harris_Anything_54_Adam_Lambert,_Concerts,_Oscars,_Doggy_Stuff,_Smile
Sam sings "SMILE" (Charlie Chaplin) at the end! ▻ EVENT INFO: http://samharris.com/calendar.htm March 21 & 22 The songs of George and Ira Gershwin will be th...
- published: 11 Mar 2009
- views: 9659
- author: SamHarrisCOM
George Gershwin - Blue Monday (135th Street Blues) - Stereo
- Order: Reorder
- Duration: 22:35
- Updated: 29 Apr 2013
Cette vidéo, dont la piste sonore est en stéréophonie, remplace celle mise en ligne sous un titre analogue mais qui, en raison d'une erreur technique, était ...
http://wn.com/George_Gershwin_Blue_Monday_135th_Street_Blues_Stereo
Cette vidéo, dont la piste sonore est en stéréophonie, remplace celle mise en ligne sous un titre analogue mais qui, en raison d'une erreur technique, était ...
- published: 27 May 2012
- views: 3437
- author: newhope123
FRED ASTAIRE & GINGER ROGERS - GERSHWIN'S SHALL WE DANCE
- Order: Reorder
- Duration: 23:27
- Updated: 01 May 2013
THIS VIDEO FEATURES THE DANCING OF FRED ASTAIRE, GINGER ROGERS AND GENE KELLY TO THE GERSHWIN'S MUSIC WRITTEN FOR THE 1937 MOVIE, SHALL WE DANCE. IT INCLUDES...
http://wn.com/FRED_ASTAIRE_GINGER_ROGERS_GERSHWIN'S_SHALL_WE_DANCE
THIS VIDEO FEATURES THE DANCING OF FRED ASTAIRE, GINGER ROGERS AND GENE KELLY TO THE GERSHWIN'S MUSIC WRITTEN FOR THE 1937 MOVIE, SHALL WE DANCE. IT INCLUDES...
- published: 03 Nov 2012
- views: 1540
- author: oldiesfan1968
Tottenville High School Spring Musical 2011 - Crazy for You (Part 7 of 7)
- Order: Reorder
- Duration: 23:28
- Updated: 21 May 2011
If you guys are people I know on Facebook, copy the video link, put it on your wall and let all your friends know! Joanne Nolemi, the greatest teacher of all...
http://wn.com/Tottenville_High_School_Spring_Musical_2011_Crazy_for_You_Part_7_of_7
If you guys are people I know on Facebook, copy the video link, put it on your wall and let all your friends know! Joanne Nolemi, the greatest teacher of all...
- published: 21 May 2011
- views: 547
- author: xSoLaRiZeD
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George and Ira Gershwin Speak
- Order: Reorder
- Duration: 3:20
- Updated: 19 May 2013
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
http://wn.com/George_and_Ira_Gershwin_Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
- published: 25 Oct 2011
- views: 3472
- author: centurygirl1
Ira Gershwin talks about George Gershwin
- Order: Reorder
- Duration: 6:14
- Updated: 23 Apr 2013
Ira Gershwin talks about George Gershwin.
http://wn.com/Ira_Gershwin_talks_about_George_Gershwin
George and Ira Gershwin - Someone to Watch Over Me
- Order: Reorder
- Duration: 2:50
- Updated: 14 May 2013
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
http://wn.com/George_and_Ira_Gershwin_Someone_to_Watch_Over_Me
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
- published: 03 Jun 2012
- views: 2249
- author: CurtisandCoyne
Ella Fitzgerald Someone To Watch Over Me
- Order: Reorder
- Duration: 3:14
- Updated: 23 May 2013
A true Gershwin Classic.
http://wn.com/Ella_Fitzgerald_Someone_To_Watch_Over_Me
Someone to Watch Over Me (Gershwin-Turrin) - Piano/Vocal Cover
- Order: Reorder
- Duration: 3:41
- Updated: 28 May 2013
If you like this song or my playing/singing, please join the new announcement mailing list. Just go here, enter your email, and click subscribe. You'll get a...
http://wn.com/Someone_to_Watch_Over_Me_Gershwin-Turrin_Piano_Vocal_Cover
If you like this song or my playing/singing, please join the new announcement mailing list. Just go here, enter your email, and click subscribe. You'll get a...
- published: 09 Oct 2012
- views: 161217
- author: BenG PianoVocals
Meeting Ira Gershwin
- Order: Reorder
- Duration: 4:09
- Updated: 09 May 2013
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
http://wn.com/Meeting_Ira_Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
- published: 11 Feb 2007
- views: 8649
- author: Richard Glazier
Our Love is Here to Stay by George & Ira Gershwin
- Order: Reorder
- Duration: 3:10
- Updated: 20 May 2013
Our Love is Here to Stay [1937] by George Gershwin, lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Photos of New York City, March 2009, by Paul...
http://wn.com/Our_Love_is_Here_to_Stay_by_George_Ira_Gershwin
Our Love is Here to Stay [1937] by George Gershwin, lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Photos of New York City, March 2009, by Paul...
- published: 20 Jun 2009
- views: 35351
- author: oakroom48
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson
- Order: Reorder
- Duration: 3:19
- Updated: 18 Apr 2013
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson This is a wonderful - but under played standard. Music is by Kurt Weill. It has lots of opportuni...
http://wn.com/My_Ship_Ira_Gershwin_and_Kurt_Weill_jazz_piano_lesson
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson This is a wonderful - but under played standard. Music is by Kurt Weill. It has lots of opportuni...
- published: 05 Apr 2009
- views: 20165
- author: jazz2511
Rex Reed & Polly Bergen talk about Ira Gershwin (full interview)
- Order: Reorder
- Duration: 9:24
- Updated: 08 Jul 2012
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of Ira Gershwin. For booking info, contact: KMP Artist Management Inc. ...
http://wn.com/Rex_Reed_Polly_Bergen_talk_about_Ira_Gershwin_full_interview
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of Ira Gershwin. For booking info, contact: KMP Artist Management Inc. ...
- published: 02 Jun 2010
- views: 1448
- author: TheIrashow
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
- Order: Reorder
- Duration: 4:33
- Updated: 28 Dec 2012
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
http://wn.com/GEORGE_IRA_GERSHWIN_SASHA_COHEN_27_THE_GIRL_I_LOVE_HOTTEST_SKATE_OF_ALL_TIME_!_1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
- published: 16 Jan 2012
- views: 2543
- author: LISZTIZATION
Gene Kelly, George Gershwin, Ira Gershwin - Love Is Here to Stay - JazzAndBluesExperience
- Order: Reorder
- Duration: 4:12
- Updated: 22 May 2013
TELECHARGEZ LES 50 TITRES INDISPENSABLES DU JAZZ A SEULEMENT 5.99€ ! » Cliquez ici : http://bit.ly/Qir5YB JazzAndBluesExperience - (Re)Discover the Jazz an...
http://wn.com/Gene_Kelly,_George_Gershwin,_Ira_Gershwin_Love_Is_Here_to_Stay_JazzAndBluesExperience
TELECHARGEZ LES 50 TITRES INDISPENSABLES DU JAZZ A SEULEMENT 5.99€ ! » Cliquez ici : http://bit.ly/Qir5YB JazzAndBluesExperience - (Re)Discover the Jazz an...
- published: 09 Jul 2012
- views: 15961
- author: JazznBluesExperience
I've Got Rhythm: Tribute to William Robinson
- Order: Reorder
- Duration: 3:23
- Updated: 21 May 2013
Ella Fitzgerald sings I've Got Rhythm. Bill "Bojangles" Robinson (May 25, 1878 -- November 25, 1949) was an American tap dancer and actor of stage and film. ...
http://wn.com/I've_Got_Rhythm_Tribute_to_William_Robinson
Ella Fitzgerald sings I've Got Rhythm. Bill "Bojangles" Robinson (May 25, 1878 -- November 25, 1949) was an American tap dancer and actor of stage and film. ...
- published: 21 Dec 2009
- views: 37259
- author: Shabannie's Tribute Videos
Rachel Sermanni - But Not For Me (George & Ira Gershwin)
- Order: Reorder
- Duration: 1:34
- Updated: 01 May 2013
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvloed.com.
http://wn.com/Rachel_Sermanni_But_Not_For_Me_George_Ira_Gershwin
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvloed.com.
- published: 26 Apr 2013
- views: 115
- author: matthijsvanderven
Inside Look at Ira Gershwin's Archives
- Order: Reorder
- Duration: 4:37
- Updated: 04 Mar 2013
From the acclaimed entertainer, the definitive account of the Gershwins and a memoir of the author's friendship with Ira Gershwin; plus original CD.
http://wn.com/Inside_Look_at_Ira_Gershwin's_Archives
From the acclaimed entertainer, the definitive account of the Gershwins and a memoir of the author's friendship with Ira Gershwin; plus original CD.
- published: 04 Mar 2013
- views: 81
- author: SimonSchusterVideos
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin
- Order: Reorder
- Duration: 3:35
- Updated: 01 May 2013
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin Accompanied on the piano by Peter Walsh. Sound recorded by William Rahko.
http://wn.com/Eleni_Pantages_sings_Blah,_Blah,_Blah_by_Ira_Gershwin
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin Accompanied on the piano by Peter Walsh. Sound recorded by William Rahko.
- published: 11 May 2010
- views: 7066
- author: ODAproductions
Ira's words: Polly Bergen & Rex Reed discuss Ira Gershwin
- Order: Reorder
- Duration: 2:37
- Updated: 23 Jul 2010
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of Ira Gershwin. For booking info, contact: KMP Artist Management Inc. www.KMPartists.com.
http://wn.com/Ira's_words_Polly_Bergen_Rex_Reed_discuss_Ira_Gershwin
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of Ira Gershwin. For booking info, contact: KMP Artist Management Inc. www.KMPartists.com.
- published: 02 Jun 2010
- views: 104
- author: TheIrashow
Looking For A Boy (George & Ira Gershwin) from TIP TOES, played by Harry Perrella
- Order: Reorder
- Duration: 2:55
- Updated: 13 May 2013
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close history and association with the music of George Gershwin. Harry Pe...
http://wn.com/Looking_For_A_Boy_George_Ira_Gershwin_from_TIP_TOES,_played_by_Harry_Perrella
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close history and association with the music of George Gershwin. Harry Pe...
- published: 13 May 2013
- views: 29
- author: Ednay Arkspay
SUMMERTIME - George & Ira Gershwin
- Order: Reorder
- Duration: 4:37
- Updated: 25 Apr 2013
Big Band del Conservatorio de Utiel · Alicia Martínez, voz · Marcos Forner, director · Teatro Rambal - Mayo 2010.
http://wn.com/SUMMERTIME_George_Ira_Gershwin
Big Band del Conservatorio de Utiel · Alicia Martínez, voz · Marcos Forner, director · Teatro Rambal - Mayo 2010.
- published: 21 Jun 2010
- views: 1486
- author: Miguel Angel Mateu
Soon by George and Ira Gershwin arr. Don Schamber
- Order: Reorder
- Duration: 4:44
- Updated: 20 Mar 2013
CSULB Studio Jazz Band, Jeff Jarvis Director.
http://wn.com/Soon_by_George_and_Ira_Gershwin_arr_Don_Schamber
George & Ira Gershwin Kickin' the clouds away
- Order: Reorder
- Duration: 3:21
- Updated: 17 Aug 2012
From the CD 'George & Ira Gershwin: A Musical Celebration' done for the APLA tribute concert.
http://wn.com/George_Ira_Gershwin_Kickin'_the_clouds_away
From the CD 'George & Ira Gershwin: A Musical Celebration' done for the APLA tribute concert.
- published: 23 Jun 2010
- views: 1660
- author: carecare91
Patuxent High School Chorus singing George & Ira Gershwin's "Someone to Watch Over Me"
- Order: Reorder
- Duration: 5:21
- Updated: 08 May 2013
Patuxent High School Chorus 5/7/2013
http://wn.com/Patuxent_High_School_Chorus_singing_George_Ira_Gershwin's_Someone_to_Watch_Over_Me
Patuxent High School Chorus 5/7/2013
- published: 08 May 2013
- views: 18
Do-Do-Do; Maybe (Ira Gershwin-George Gershwin) played by Heyward Headden, 1927
- Order: Reorder
- Duration: 2:48
- Updated: 13 May 2013
Do-Do-Do; Maybe -- Fox Trot (Ira Gershwin-George Gershwin) played by Heyward Headden. Two songs from the Broadway hit "Oh, Kay!" which starred Gertrude Lawrence. Welte roll 75224, released February 1927.
http://wn.com/Do-Do-Do;_Maybe_Ira_Gershwin-George_Gershwin_played_by_Heyward_Headden,_1927
Do-Do-Do; Maybe -- Fox Trot (Ira Gershwin-George Gershwin) played by Heyward Headden. Two songs from the Broadway hit "Oh, Kay!" which starred Gertrude Lawrence. Welte roll 75224, released February 1927.
- published: 13 May 2013
- views: 11
DIANA KRALL - 'S WONDEFUL - GEORGE & IRA GERSHWIN
- Order: Reorder
- Duration: 5:03
- Updated: 13 May 2013
ORQUESTA DIRIGIDA POR CLAUS OGERMAN LETRA DE 'S WONDERFUL 's wonderful! 's marvelous! You should care for me! 's awful nice! 's paradise! 's what I love to s...
http://wn.com/DIANA_KRALL_'S_WONDEFUL_GEORGE_IRA_GERSHWIN
ORQUESTA DIRIGIDA POR CLAUS OGERMAN LETRA DE 'S WONDERFUL 's wonderful! 's marvelous! You should care for me! 's awful nice! 's paradise! 's what I love to s...
- published: 14 Feb 2013
- author: ARCHIVOS BOESMI
4:09
Meeting Ira Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that chang...
published: 11 Feb 2007
author: Richard Glazier
Meeting Ira Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
- published: 11 Feb 2007
- views: 8649
- author: Richard Glazier
4:33
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" EN...
published: 16 Jan 2012
author: LISZTIZATION
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
- published: 16 Jan 2012
- views: 2543
- author: LISZTIZATION
1:40
Brandon Cordeiro singing "Love is Here to Stay" (George & Ira Gershwin)
Brandon Cordeirong singing "Love is Here to Stay" from George & Ira Gershwin's 1938 movie ...
published: 11 Oct 2012
author: Brandon Cordeiro
Brandon Cordeiro singing "Love is Here to Stay" (George & Ira Gershwin)
Brandon Cordeirong singing "Love is Here to Stay" from George & Ira Gershwin's 1938 movie "The Goldwyn Follies" Piano; James Olmstead - www.jamesolmstead.com...
- published: 11 Oct 2012
- views: 54
- author: Brandon Cordeiro
2:55
Looking For A Boy (George & Ira Gershwin) from TIP TOES, played by Harry Perrella
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close ...
published: 13 May 2013
author: Ednay Arkspay
Looking For A Boy (George & Ira Gershwin) from TIP TOES, played by Harry Perrella
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close history and association with the music of George Gershwin. Harry Pe...
- published: 13 May 2013
- views: 29
- author: Ednay Arkspay
5:00
Diana Krall - 'S Wonderful - Live HD
Live in Paris " 'S Wonderful " is a popular song composed by George Gershwin, with lyrics ...
published: 03 Feb 2013
author: Zenattitude
Diana Krall - 'S Wonderful - Live HD
Live in Paris " 'S Wonderful " is a popular song composed by George Gershwin, with lyrics written by Ira Gershwin. It was introduced in the Broadway musical ...
- published: 03 Feb 2013
- views: 4854
- author: Zenattitude
4:01
Sarah Vaughan - The Man I Love by George and Ira Gershwin
MY FAVORITE JAZZ VOCALISTS (FEMALE) HORS CONCOURS: Ella Fitzgerald 1st place: Sarah Vaugha...
published: 02 Jun 2011
Sarah Vaughan - The Man I Love by George and Ira Gershwin
MY FAVORITE JAZZ VOCALISTS (FEMALE) HORS CONCOURS: Ella Fitzgerald 1st place: Sarah Vaughan "The Man I Love" is a popular standard, with music by George Gers...
- published: 02 Jun 2011
- views: 7690
- author: I´M STILL LOVING THE OLD FASHION JAZZ
2:55
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ https://www.facebook.com/artofja...
published: 15 Jun 2012
author: artofjazz
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ
"Embraceable You", (George and Ira Gershwin) by ArToFjAzZ https://www.facebook.com/artofjazz97 ArToFjAzZ lineup: Dannie Hofmann: Saxophone Stoney Dixon: Bass...
- published: 15 Jun 2012
- views: 284
- author: artofjazz
3:52
My Ship (Kurt Weill/Ira Gershwin)
Susaye Greene, vocalist, with The Jeffrey Chin Trio: live at "Concerts at the Cadillac" at...
published: 18 Jan 2012
author: LWalkup
My Ship (Kurt Weill/Ira Gershwin)
Susaye Greene, vocalist, with The Jeffrey Chin Trio: live at "Concerts at the Cadillac" at the Cadillac Hotel in San Francisco, December 2, 2011. Susaye was ...
- published: 18 Jan 2012
- author: LWalkup
1:34
Rachel Sermanni - But Not For Me (George & Ira Gershwin)
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvl...
published: 26 Apr 2013
author: matthijsvanderven
Rachel Sermanni - But Not For Me (George & Ira Gershwin)
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvloed.com.
- published: 26 Apr 2013
- views: 115
- author: matthijsvanderven
3:20
George and Ira Gershwin Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. P...
published: 25 Oct 2011
author: centurygirl1
George and Ira Gershwin Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
- published: 25 Oct 2011
- views: 3472
- author: centurygirl1
6:31
Maria Farantouri Sings Gershwin - Somebody From Somewhere Someone To Watch Over Me - 28-11-2012 - 5
Ourania - Clouds - 10.25 Maria Farantouri - Somebody From Somewhere Someone To Watch Over ...
published: 01 Dec 2012
author: 7thalassa7
Maria Farantouri Sings Gershwin - Somebody From Somewhere Someone To Watch Over Me - 28-11-2012 - 5
Ourania - Clouds - 10.25 Maria Farantouri - Somebody From Somewhere Someone To Watch Over Me - 5 George Gershwin/Ira Gershwin Live Recording From Athens Conc...
- published: 01 Dec 2012
- views: 14
- author: 7thalassa7
4:13
Maria Farantouri Sings George Gershwin - Embraceable You - 28-11-2012 - 1
Ourania - Clouds - 10.00 Maria farantouri - Embraceable You - 1 George Gershwin/Ira Gershw...
published: 01 Dec 2012
author: 7thalassa7
Maria Farantouri Sings George Gershwin - Embraceable You - 28-11-2012 - 1
Ourania - Clouds - 10.00 Maria farantouri - Embraceable You - 1 George Gershwin/Ira Gershwin Live Recording From Athens Concert Hall, February 22, 2006 The O...
- published: 01 Dec 2012
- views: 8
- author: 7thalassa7
4:04
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin Natalia Shevchenko - vocal My...
published: 23 Jan 2013
author: Arsen Buchynsky
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin
ART PRESTIGE QUARTET "I Got Rhythm" by George & Ira Gershwin Natalia Shevchenko - vocal Myroslav Pasichnjak - saxophone Roman Mykytjuk - piano Oleksiy Tujesh...
- published: 23 Jan 2013
- views: 72
- author: Arsen Buchynsky
2:50
Ask Me Again by George & Ira Gershwin played by Simon Want
I think this is a beautiful song but, surprisingly, I can't get any info off the net by my...
published: 23 Aug 2010
author: PianoFatso
Ask Me Again by George & Ira Gershwin played by Simon Want
I think this is a beautiful song but, surprisingly, I can't get any info off the net by my usual 'type in the lyrics' method. I know it from listening to Mic...
- published: 23 Aug 2010
- views: 917
- author: PianoFatso
Vimeo results:
4:55
Summertime / Porgy and Bess / George & Ira Gershwin
La anfitriona... Morita del Campo... interpretan, el viejo napo y Rachel Zeigler....
published: 01 May 2012
author: Kenneth Godwin
Summertime / Porgy and Bess / George & Ira Gershwin
La anfitriona... Morita del Campo... interpretan, el viejo napo y Rachel Zeigler.
3:40
The man I love, George and Ira Gershwin
Lady Balladyna is an internationally known night club singer based in Amsterdam. Her sultr...
published: 22 May 2011
author: Lady Balladyna
The man I love, George and Ira Gershwin
Lady Balladyna is an internationally known night club singer based in Amsterdam. Her sultry, elegant style is reminiscent of the Femme Fatales in a film noir movie.
Her stylish and entertaining performances seduce the audience into the time of Hollywood’s golden age or Paris’ Moulin Rouge.
She can perform in different settings from jazz lounges to elegant galas and corporate events.
3:50
George and Ira Gershwin's "Soon" video by Robert Rothbard
George and Ira Gershwin's "Soon" performed by Wade Cottingham, video by Robert Rothbard. ...
published: 05 Feb 2012
author: Soulful Journey
George and Ira Gershwin's "Soon" video by Robert Rothbard
George and Ira Gershwin's "Soon" performed by Wade Cottingham, video by Robert Rothbard. Wade is a piano instructor in Dallas, Texas.
23:05
"An American In Paris" Ballet with George Gershwin's Original Music
What if Gene Kelly had danced to George Gershwin's original score instead of Saul Chaplin'...
published: 16 May 2011
author: Mark
"An American In Paris" Ballet with George Gershwin's Original Music
What if Gene Kelly had danced to George Gershwin's original score instead of Saul Chaplin's version? Why did Kelly ask for changes? Why did Ira Gershwin allow it? Would George have agreed? Why were 6 minutes cut when over 5 minutes of new music was added?
This is simply an educational exercise to see how the ballet would have played to the original score, and to show how it was altered. To see the original, please buy or rent the DVD.
Ira Gershwin insisted that all of the songs in the film "An American In Paris" come from the Gershwin songbook. But not the music for the famous ballet. Saul Chaplin reorchestrated, rearranged, and edited Gershwin's piece, and added music.
That's always bothered me, so I replaced most of the film's score with Gershwin's original "An American In Paris" as played by the New York Philharmonic.
I've paused the film where music was cut, and kept some music that was added (at the beginning and in the middle). I've labeled any section that contains new music. Sections that are not labeled are Gershwin's music, but on the film soundtrack, they are often altered.
The section beginning at 5:30 was moved towards the end of the film ballet - I've moved it up. Finally, I was forced to use the film soundtrack for about 5 minutes beginning at 8:15, since so much of that music is not in the concert version.
Chaplin won an Oscar for his scoring of the film, so the Academy did not share my concerns about his alterations.
From someone who spoke to Saul Chaplin about this:
"Chaplin insisted that every note of the ballet is Gershwin. Ira Gershwin provided Chaplin with George's original musical sketches, which included passages Gershwin discarded. Chaplin adapted them for the middle section and tried as much as possible not to stray from Gershwin's original orchestration.
Nevertheless, he was distressed about his part in adapting the ballet, which he did out of necessity, not pleasure. He considered Gershwin one of America's greatest composers and never allowed this version to be recorded or played anywhere except on the soundtrack of the picture."
(To my ear, much of the film soundtrack sounds like it has been reorchestrated. Having never seen George's original sketches, it's not possible to verify if "every note" is Gershwin. It's certainly not the piece as he published it. The adapted version is available on the Rhino two-disc soundtrack CD, so it appears Chaplin's wishes were not honored.)
.
Youtube results:
3:34
Love is here to stay - George Gershwin and Ira Gershwin
The Greeners' Sound presents - Love is here to stay @The Greeners' Sound Annual Concert 20...
published: 22 Aug 2012
author: TheGreenersSound
Love is here to stay - George Gershwin and Ira Gershwin
The Greeners' Sound presents - Love is here to stay @The Greeners' Sound Annual Concert 2012 - Greeneration Love is here to stay George Gershwin and Ira Gers...
- published: 22 Aug 2012
- views: 879
- author: TheGreenersSound
2:47
They Can't Take That Away From Me (George & Ira Gershwin)
West End Singers with Alex Silverman, MD, and accompanist Richard Scott-Copeland. Christma...
published: 27 Mar 2012
author: Angela Jackson
They Can't Take That Away From Me (George & Ira Gershwin)
West End Singers with Alex Silverman, MD, and accompanist Richard Scott-Copeland. Christmas Celebrations Concert at The Point Theatre, Eastleigh, December 20...
- published: 27 Mar 2012
- views: 485
- author: Angela Jackson
3:54
A foggy day (George Gershwin / Ira Gershwin)
Combos - Fundação das Artes de São Caetano do Sul
26.11.12 - Sesc São Caetano
orientação ...
published: 30 Nov 2012
A foggy day (George Gershwin / Ira Gershwin)
Combos - Fundação das Artes de São Caetano do Sul
26.11.12 - Sesc São Caetano
orientação - Ogair Jr.
Alexandre Silva Barroso - bateria
Diego Armando - baixo
Leandro Kenji Oshiro - guitarra
Luiz Fernando Viola Bortolin - guitarra
- published: 30 Nov 2012
- views: 23
5:03
DIANA KRALL - 'S WONDEFUL - GEORGE & IRA GERSHWIN
ORQUESTA DIRIGIDA POR CLAUS OGERMAN LETRA DE 'S WONDERFUL 's wonderful! 's marvelous! You ...
published: 14 Feb 2013
author: ARCHIVOS BOESMI
DIANA KRALL - 'S WONDEFUL - GEORGE & IRA GERSHWIN
ORQUESTA DIRIGIDA POR CLAUS OGERMAN LETRA DE 'S WONDERFUL 's wonderful! 's marvelous! You should care for me! 's awful nice! 's paradise! 's what I love to s...
- published: 14 Feb 2013
- author: ARCHIVOS BOESMI
38:44
Kurt Weill Ira Gershwin The Firebrand of Florerce Thomas Hampson baritone
Photo: Thomas Hampson Kurt Weill - Ira Gershwin The Firebrand of Florence 1 - Song of the ...
published: 06 Jan 2013
author: Hans Friedrich Gunther
Kurt Weill Ira Gershwin The Firebrand of Florerce Thomas Hampson baritone
Photo: Thomas Hampson Kurt Weill - Ira Gershwin The Firebrand of Florence 1 - Song of the Hangmann 2 - Come to Florence 3 - My Lords and Ladies 4 - Life, lov...
- published: 06 Jan 2013
- views: 148
- author: Hans Friedrich Gunther
22:32
EXTENDED - RELAXING 3D: But Not For Me! (Girl Crazy - Gershwin) - In Beautiful 1080p!!!
"But Not for Me" is a popular song, composed by George Gershwin, with lyrics by Ira Gershw...
published: 06 Jul 2012
author: Howdy Your-Friend
EXTENDED - RELAXING 3D: But Not For Me! (Girl Crazy - Gershwin) - In Beautiful 1080p!!!
"But Not for Me" is a popular song, composed by George Gershwin, with lyrics by Ira Gershwin. It was written for their musical Girl Crazy (1930) and introduc...
- published: 06 Jul 2012
- views: 1160
- author: Howdy Your-Friend
53:53
George Gershwin - Documentário Legendado
Nascido no Brooklyn, Nova York, com o nome de Jacob Gershowitz, filho de pais imigrantes j...
published: 17 Oct 2012
author: Docspt Arte
George Gershwin - Documentário Legendado
Nascido no Brooklyn, Nova York, com o nome de Jacob Gershowitz, filho de pais imigrantes judeus, oriundos da Rússia, aos 15 anos George já era um talentoso p...
- published: 17 Oct 2012
- views: 495
- author: Docspt Arte
44:32
Bill Evans Trio - Live in Rome (1979r)
Bill Evans Trio - Live in Rome (1979r) http://www.jazzmessengers.com/ I believe it was an ...
published: 07 May 2013
author: MegaEnrico56
Bill Evans Trio - Live in Rome (1979r)
Bill Evans Trio - Live in Rome (1979r) http://www.jazzmessengers.com/ I believe it was an old friend, Bill Byam, who first told me of this DVD of the last tr...
- published: 07 May 2013
- views: 257
- author: MegaEnrico56
75:41
Chet Baker Quartet- I Can't Get Started - Live in Palermo 1976[FULL ALBUM]
01 SOLAR-00.00(Miles Davis) 02 THERE WILL NEVER BE ANOTHER YOU-11:37 (Harry Warren-Mack Go...
published: 07 Apr 2013
author: friusmikon
Chet Baker Quartet- I Can't Get Started - Live in Palermo 1976[FULL ALBUM]
01 SOLAR-00.00(Miles Davis) 02 THERE WILL NEVER BE ANOTHER YOU-11:37 (Harry Warren-Mack Gordon) 03 MILESTONES -20:20 (Miles Davis) 04 MY FUNNY VALENTTNE-33:1...
- published: 07 Apr 2013
- views: 308
- author: friusmikon
75:59
NYSL: Michael Lasser on "Love is Here to Stay"
http://www.nysoclib.org/notes/2010/love_gershwin.html The speaker and musicians who brough...
published: 14 Oct 2010
author: nysoclib
NYSL: Michael Lasser on "Love is Here to Stay"
http://www.nysoclib.org/notes/2010/love_gershwin.html The speaker and musicians who brought you Mingling with the Old-Time Throng: Love Songs for New York in...
- published: 14 Oct 2010
- views: 540
- author: nysoclib
59:34
Harry Connick Jr. - The New York Big Band Concert
Live at the Paramount Theatre, New York City, 1992 Track list: 1. Sweet Georgia Brown (Ken...
published: 27 Feb 2013
author: Canal de Gabiurki
Harry Connick Jr. - The New York Big Band Concert
Live at the Paramount Theatre, New York City, 1992 Track list: 1. Sweet Georgia Brown (Kenneth Casey, Maceo Pinkard, Ben Bernie) -- 3:29 2. Don't Get Around ...
- published: 27 Feb 2013
- views: 8799
- author: Canal de Gabiurki
23:52
Chet Baker Sings - Pacific Jazz (PJLP-11) 10" (full album)
Album: Chet Baker Sings Artist: Chet Baker Label: Pacific Jazz (PJLP-11) Format: 10" LP Ye...
published: 06 Oct 2012
author: Indie Handbook
Chet Baker Sings - Pacific Jazz (PJLP-11) 10" (full album)
Album: Chet Baker Sings Artist: Chet Baker Label: Pacific Jazz (PJLP-11) Format: 10" LP Year: 1954 I am fairly certain most of these songs are already on You...
- published: 06 Oct 2012
- views: 15423
- author: Indie Handbook
37:05
Miles Davis + 19 Miles Ahead Full Album
Tracks "Springsville" (John Carisi) "The Maids of Cadiz" (Léo Delibes) "The Duke" (Dave Br...
published: 03 Sep 2012
author: JazzSessions4Thee
Miles Davis + 19 Miles Ahead Full Album
Tracks "Springsville" (John Carisi) "The Maids of Cadiz" (Léo Delibes) "The Duke" (Dave Brubeck) "My Ship" (Kurt Weill) Ira Gershwin wrote lyrics for this so...
- published: 03 Sep 2012
- views: 11381
- author: JazzSessions4Thee
36:39
Charles Mingus - Pithecanthropus Erectus (full album)
Pubblicazione: 1956 Etichetta: Atlantic Records Durata complessiva: 36.39 1. Pithecanthrop...
published: 06 Apr 2012
author: Effetto Notte
Charles Mingus - Pithecanthropus Erectus (full album)
Pubblicazione: 1956 Etichetta: Atlantic Records Durata complessiva: 36.39 1. Pithecanthropus Erectus -- 00:06 2. A Foggy Day -- 10:40 - (George Gershwin, Ira...
- published: 06 Apr 2012
- views: 25533
- author: Effetto Notte
23:56
Anna Moffo : Porgy and Bess
Porgy and Bess est un opéra composé par George Gershwin sur un livret de Ira Gershwin et d...
published: 12 Oct 2012
author: LIRIC13NPM
Anna Moffo : Porgy and Bess
Porgy and Bess est un opéra composé par George Gershwin sur un livret de Ira Gershwin et de Edwin DuBose Heyward, basé sur le roman Porgy (1925), écrit par D...
- published: 12 Oct 2012
- views: 189
- author: LIRIC13NPM
71:25
Lytle Memorial Scholarship Concert: The Naked Gershwin
Pianist Cecil Lytle, narrator Arthur Wagner and guests present The Naked Gershwin, a hilar...
published: 31 Jan 2008
author: UCtelevision
Lytle Memorial Scholarship Concert: The Naked Gershwin
Pianist Cecil Lytle, narrator Arthur Wagner and guests present The Naked Gershwin, a hilarious and educational program of music and letters to, from, or abou...
- published: 31 Jan 2008
- views: 482
- author: UCtelevision
42:05
Maysa - Sings songs before dawn (disco completo)
Disco de Maysa nos EUA gravado em 1961. Músicas: 1 - You better go now (Robert Graham / Bi...
published: 21 Oct 2012
author: Andrei Israel
Maysa - Sings songs before dawn (disco completo)
Disco de Maysa nos EUA gravado em 1961. Músicas: 1 - You better go now (Robert Graham / Bicley Reichner) 2 - Something to remember you by (Howard Dietz / Art...
- published: 21 Oct 2012
- views: 567
- author: Andrei Israel
50:24
Shirley Bassey - You Ain't Heard Nothing Yet (1985)
Shirley Bassey Gala Concert Wales 1985. Ширли Бэсси. Концерт в Уэльсе. В программе концерт...
published: 22 Feb 2013
author: postactualidad
Shirley Bassey - You Ain't Heard Nothing Yet (1985)
Shirley Bassey Gala Concert Wales 1985. Ширли Бэсси. Концерт в Уэльсе. В программе концерта - эстрадные хиты середины ХХ века, отрывки из мюзиклов и песни с ...
- published: 22 Feb 2013
- views: 1253
- author: postactualidad
Vimeo results:
4:55
Summertime / Porgy and Bess / George & Ira Gershwin
La anfitriona... Morita del Campo... interpretan, el viejo napo y Rachel Zeigler....
published: 01 May 2012
author: Kenneth Godwin
Summertime / Porgy and Bess / George & Ira Gershwin
La anfitriona... Morita del Campo... interpretan, el viejo napo y Rachel Zeigler.
3:40
The man I love, George and Ira Gershwin
Lady Balladyna is an internationally known night club singer based in Amsterdam. Her sultr...
published: 22 May 2011
author: Lady Balladyna
The man I love, George and Ira Gershwin
Lady Balladyna is an internationally known night club singer based in Amsterdam. Her sultry, elegant style is reminiscent of the Femme Fatales in a film noir movie.
Her stylish and entertaining performances seduce the audience into the time of Hollywood’s golden age or Paris’ Moulin Rouge.
She can perform in different settings from jazz lounges to elegant galas and corporate events.
3:50
George and Ira Gershwin's "Soon" video by Robert Rothbard
George and Ira Gershwin's "Soon" performed by Wade Cottingham, video by Robert Rothbard. ...
published: 05 Feb 2012
author: Soulful Journey
George and Ira Gershwin's "Soon" video by Robert Rothbard
George and Ira Gershwin's "Soon" performed by Wade Cottingham, video by Robert Rothbard. Wade is a piano instructor in Dallas, Texas.
23:05
"An American In Paris" Ballet with George Gershwin's Original Music
What if Gene Kelly had danced to George Gershwin's original score instead of Saul Chaplin'...
published: 16 May 2011
author: Mark
"An American In Paris" Ballet with George Gershwin's Original Music
What if Gene Kelly had danced to George Gershwin's original score instead of Saul Chaplin's version? Why did Kelly ask for changes? Why did Ira Gershwin allow it? Would George have agreed? Why were 6 minutes cut when over 5 minutes of new music was added?
This is simply an educational exercise to see how the ballet would have played to the original score, and to show how it was altered. To see the original, please buy or rent the DVD.
Ira Gershwin insisted that all of the songs in the film "An American In Paris" come from the Gershwin songbook. But not the music for the famous ballet. Saul Chaplin reorchestrated, rearranged, and edited Gershwin's piece, and added music.
That's always bothered me, so I replaced most of the film's score with Gershwin's original "An American In Paris" as played by the New York Philharmonic.
I've paused the film where music was cut, and kept some music that was added (at the beginning and in the middle). I've labeled any section that contains new music. Sections that are not labeled are Gershwin's music, but on the film soundtrack, they are often altered.
The section beginning at 5:30 was moved towards the end of the film ballet - I've moved it up. Finally, I was forced to use the film soundtrack for about 5 minutes beginning at 8:15, since so much of that music is not in the concert version.
Chaplin won an Oscar for his scoring of the film, so the Academy did not share my concerns about his alterations.
From someone who spoke to Saul Chaplin about this:
"Chaplin insisted that every note of the ballet is Gershwin. Ira Gershwin provided Chaplin with George's original musical sketches, which included passages Gershwin discarded. Chaplin adapted them for the middle section and tried as much as possible not to stray from Gershwin's original orchestration.
Nevertheless, he was distressed about his part in adapting the ballet, which he did out of necessity, not pleasure. He considered Gershwin one of America's greatest composers and never allowed this version to be recorded or played anywhere except on the soundtrack of the picture."
(To my ear, much of the film soundtrack sounds like it has been reorchestrated. Having never seen George's original sketches, it's not possible to verify if "every note" is Gershwin. It's certainly not the piece as he published it. The adapted version is available on the Rhino two-disc soundtrack CD, so it appears Chaplin's wishes were not honored.)
.
Youtube results:
48:26
concert with SampleSumo's live music following technology at Piano's Maene
This concert was a showcase of SampleSumo's "Music Following for Live Venues" project (in ...
published: 28 Mar 2013
author: SampleSumo
concert with SampleSumo's live music following technology at Piano's Maene
This concert was a showcase of SampleSumo's "Music Following for Live Venues" project (in collaboration with MuseScore, iMinds and Vlaams Proeftuin Platform)...
- published: 28 Mar 2013
- views: 220
- author: SampleSumo
26:59
Michael FEINSTEIN on InnerVIEWS with Ernie Manouse
One of the premiere interpreters of popular music, Michael Feinstein's career took off aft...
published: 11 Apr 2011
author: HoustonPBS
Michael FEINSTEIN on InnerVIEWS with Ernie Manouse
One of the premiere interpreters of popular music, Michael Feinstein's career took off after the success of his one-man Broadway show. From being Ira Gershwi...
- published: 11 Apr 2011
- views: 1000
- author: HoustonPBS
24:01
NEW YORK NEW YORK Musical Brasil Parte 2
Antonio Carlos Gomes acompanhou a reestreia de NEW YORK NEW YORK Versão brasileira para o ...
published: 16 Sep 2012
author: Antonio Carlos Gomes
NEW YORK NEW YORK Musical Brasil Parte 2
Antonio Carlos Gomes acompanhou a reestreia de NEW YORK NEW YORK Versão brasileira para o espetáculo da Broadway que já ganhou adaptação para o cinema, em 19...
- published: 16 Sep 2012
- views: 112
- author: Antonio Carlos Gomes
105:37
The North Star (1943) Full Movie
The North Star (also known as Armored Attack in the US) is a 1943 war film produced by Sam...
published: 06 May 2013
author: PublicDomainGeek
The North Star (1943) Full Movie
The North Star (also known as Armored Attack in the US) is a 1943 war film produced by Samuel Goldwyn Productions and distributed by RKO Radio Pictures. It w...
- published: 06 May 2013
- views: 27
- author: PublicDomainGeek
3:20
George and Ira Gershwin Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. P...
published: 25 Oct 2011
author: centurygirl1
George and Ira Gershwin Speak
Radio program footage from each of the Gershwin brothers, along with rarely seen photos. Photo sources given at end of video.
- published: 25 Oct 2011
- views: 3472
- author: centurygirl1
6:14
Ira Gershwin talks about George Gershwin
Ira Gershwin talks about George Gershwin....
published: 08 Mar 2009
author: jazzgirl1920s
Ira Gershwin talks about George Gershwin
Ira Gershwin talks about George Gershwin.
- published: 08 Mar 2009
- views: 10147
- author: jazzgirl1920s
2:50
George and Ira Gershwin - Someone to Watch Over Me
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Da...
published: 03 Jun 2012
author: CurtisandCoyne
George and Ira Gershwin - Someone to Watch Over Me
Daniel and Laura Curtis performing Someone to Watch Over Me by George and Ira Gershwin. Daniel and Laura are ambassadors for the preservation of The Great Am...
- published: 03 Jun 2012
- views: 2249
- author: CurtisandCoyne
3:14
Ella Fitzgerald Someone To Watch Over Me
A true Gershwin Classic....
published: 20 Jun 2009
author: Guitarschmoozer
Ella Fitzgerald Someone To Watch Over Me
A true Gershwin Classic.
- published: 20 Jun 2009
- views: 302841
- author: Guitarschmoozer
3:41
Someone to Watch Over Me (Gershwin-Turrin) - Piano/Vocal Cover
If you like this song or my playing/singing, please join the new announcement mailing list...
published: 09 Oct 2012
author: BenG PianoVocals
Someone to Watch Over Me (Gershwin-Turrin) - Piano/Vocal Cover
If you like this song or my playing/singing, please join the new announcement mailing list. Just go here, enter your email, and click subscribe. You'll get a...
- published: 09 Oct 2012
- views: 161217
- author: BenG PianoVocals
4:09
Meeting Ira Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that chang...
published: 11 Feb 2007
author: Richard Glazier
Meeting Ira Gershwin
From a live performance at the Invisible Theatre in Tucson AZ. I tell the story that changed the course of my life.
- published: 11 Feb 2007
- views: 8649
- author: Richard Glazier
3:10
Our Love is Here to Stay by George & Ira Gershwin
Our Love is Here to Stay [1937] by George Gershwin, lyrics by Ira Gershwin. Musical arrang...
published: 20 Jun 2009
author: oakroom48
Our Love is Here to Stay by George & Ira Gershwin
Our Love is Here to Stay [1937] by George Gershwin, lyrics by Ira Gershwin. Musical arrangement by Gary Chapman. Photos of New York City, March 2009, by Paul...
- published: 20 Jun 2009
- views: 35351
- author: oakroom48
3:19
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson This is a wonderful - but unde...
published: 05 Apr 2009
author: jazz2511
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson
My Ship - (Ira Gershwin and Kurt Weill) - jazz piano lesson This is a wonderful - but under played standard. Music is by Kurt Weill. It has lots of opportuni...
- published: 05 Apr 2009
- views: 20165
- author: jazz2511
9:24
Rex Reed & Polly Bergen talk about Ira Gershwin (full interview)
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of I...
published: 02 Jun 2010
author: TheIrashow
Rex Reed & Polly Bergen talk about Ira Gershwin (full interview)
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of Ira Gershwin. For booking info, contact: KMP Artist Management Inc. ...
- published: 02 Jun 2010
- views: 1448
- author: TheIrashow
4:33
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" EN...
published: 16 Jan 2012
author: LISZTIZATION
GEORGE & IRA GERSHWIN - SASHA COHEN - 27 - "THE GIRL I LOVE" - HOTTEST SKATE OF ALL TIME ! - 1-15-12
WRITTEN BY GEORGE GERSHWIN, WITH THE LYRICS BY HIS BROTHER IRA GERSHWIN. SUNG BY "GLAD" ENJOY !!! --- THIS IS NOTHING LESS THAN THE GREATEST VIDEO IN THE HIS...
- published: 16 Jan 2012
- views: 2543
- author: LISZTIZATION
4:12
Gene Kelly, George Gershwin, Ira Gershwin - Love Is Here to Stay - JazzAndBluesExperience
TELECHARGEZ LES 50 TITRES INDISPENSABLES DU JAZZ A SEULEMENT 5.99€ ! » Cliquez ici : http:...
published: 09 Jul 2012
author: JazznBluesExperience
Gene Kelly, George Gershwin, Ira Gershwin - Love Is Here to Stay - JazzAndBluesExperience
TELECHARGEZ LES 50 TITRES INDISPENSABLES DU JAZZ A SEULEMENT 5.99€ ! » Cliquez ici : http://bit.ly/Qir5YB JazzAndBluesExperience - (Re)Discover the Jazz an...
- published: 09 Jul 2012
- views: 15961
- author: JazznBluesExperience
3:23
I've Got Rhythm: Tribute to William Robinson
Ella Fitzgerald sings I've Got Rhythm. Bill "Bojangles" Robinson (May 25, 1878 -- November...
published: 21 Dec 2009
author: Shabannie's Tribute Videos
I've Got Rhythm: Tribute to William Robinson
Ella Fitzgerald sings I've Got Rhythm. Bill "Bojangles" Robinson (May 25, 1878 -- November 25, 1949) was an American tap dancer and actor of stage and film. ...
- published: 21 Dec 2009
- views: 37259
- author: Shabannie's Tribute Videos
1:34
Rachel Sermanni - But Not For Me (George & Ira Gershwin)
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvl...
published: 26 Apr 2013
author: matthijsvanderven
Rachel Sermanni - But Not For Me (George & Ira Gershwin)
Rachel Sermanni playing 'But Not For Me', a song by George and Ira Gershwin. www.onderinvloed.com.
- published: 26 Apr 2013
- views: 115
- author: matthijsvanderven
4:37
Inside Look at Ira Gershwin's Archives
From the acclaimed entertainer, the definitive account of the Gershwins and a memoir of th...
published: 04 Mar 2013
author: SimonSchusterVideos
Inside Look at Ira Gershwin's Archives
From the acclaimed entertainer, the definitive account of the Gershwins and a memoir of the author's friendship with Ira Gershwin; plus original CD.
- published: 04 Mar 2013
- views: 81
- author: SimonSchusterVideos
Vimeo results:
4:55
Summertime / Porgy and Bess / George & Ira Gershwin
La anfitriona... Morita del Campo... interpretan, el viejo napo y Rachel Zeigler....
published: 01 May 2012
author: Kenneth Godwin
Summertime / Porgy and Bess / George & Ira Gershwin
La anfitriona... Morita del Campo... interpretan, el viejo napo y Rachel Zeigler.
3:40
The man I love, George and Ira Gershwin
Lady Balladyna is an internationally known night club singer based in Amsterdam. Her sultr...
published: 22 May 2011
author: Lady Balladyna
The man I love, George and Ira Gershwin
Lady Balladyna is an internationally known night club singer based in Amsterdam. Her sultry, elegant style is reminiscent of the Femme Fatales in a film noir movie.
Her stylish and entertaining performances seduce the audience into the time of Hollywood’s golden age or Paris’ Moulin Rouge.
She can perform in different settings from jazz lounges to elegant galas and corporate events.
3:50
George and Ira Gershwin's "Soon" video by Robert Rothbard
George and Ira Gershwin's "Soon" performed by Wade Cottingham, video by Robert Rothbard. ...
published: 05 Feb 2012
author: Soulful Journey
George and Ira Gershwin's "Soon" video by Robert Rothbard
George and Ira Gershwin's "Soon" performed by Wade Cottingham, video by Robert Rothbard. Wade is a piano instructor in Dallas, Texas.
23:05
"An American In Paris" Ballet with George Gershwin's Original Music
What if Gene Kelly had danced to George Gershwin's original score instead of Saul Chaplin'...
published: 16 May 2011
author: Mark
"An American In Paris" Ballet with George Gershwin's Original Music
What if Gene Kelly had danced to George Gershwin's original score instead of Saul Chaplin's version? Why did Kelly ask for changes? Why did Ira Gershwin allow it? Would George have agreed? Why were 6 minutes cut when over 5 minutes of new music was added?
This is simply an educational exercise to see how the ballet would have played to the original score, and to show how it was altered. To see the original, please buy or rent the DVD.
Ira Gershwin insisted that all of the songs in the film "An American In Paris" come from the Gershwin songbook. But not the music for the famous ballet. Saul Chaplin reorchestrated, rearranged, and edited Gershwin's piece, and added music.
That's always bothered me, so I replaced most of the film's score with Gershwin's original "An American In Paris" as played by the New York Philharmonic.
I've paused the film where music was cut, and kept some music that was added (at the beginning and in the middle). I've labeled any section that contains new music. Sections that are not labeled are Gershwin's music, but on the film soundtrack, they are often altered.
The section beginning at 5:30 was moved towards the end of the film ballet - I've moved it up. Finally, I was forced to use the film soundtrack for about 5 minutes beginning at 8:15, since so much of that music is not in the concert version.
Chaplin won an Oscar for his scoring of the film, so the Academy did not share my concerns about his alterations.
From someone who spoke to Saul Chaplin about this:
"Chaplin insisted that every note of the ballet is Gershwin. Ira Gershwin provided Chaplin with George's original musical sketches, which included passages Gershwin discarded. Chaplin adapted them for the middle section and tried as much as possible not to stray from Gershwin's original orchestration.
Nevertheless, he was distressed about his part in adapting the ballet, which he did out of necessity, not pleasure. He considered Gershwin one of America's greatest composers and never allowed this version to be recorded or played anywhere except on the soundtrack of the picture."
(To my ear, much of the film soundtrack sounds like it has been reorchestrated. Having never seen George's original sketches, it's not possible to verify if "every note" is Gershwin. It's certainly not the piece as he published it. The adapted version is available on the Rhino two-disc soundtrack CD, so it appears Chaplin's wishes were not honored.)
.
Youtube results:
3:35
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin Accompanied on the piano by Peter ...
published: 11 May 2010
author: ODAproductions
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin
Eleni Pantages sings "Blah, Blah, Blah" by Ira Gershwin Accompanied on the piano by Peter Walsh. Sound recorded by William Rahko.
- published: 11 May 2010
- views: 7066
- author: ODAproductions
2:37
Ira's words: Polly Bergen & Rex Reed discuss Ira Gershwin
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of I...
published: 02 Jun 2010
author: TheIrashow
Ira's words: Polly Bergen & Rex Reed discuss Ira Gershwin
Rex Reed and Polly Bergen discuss their upcoming show, Ira Without George: The Lyrics of Ira Gershwin. For booking info, contact: KMP Artist Management Inc. www.KMPartists.com.
- published: 02 Jun 2010
- views: 104
- author: TheIrashow
2:55
Looking For A Boy (George & Ira Gershwin) from TIP TOES, played by Harry Perrella
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close ...
published: 13 May 2013
author: Ednay Arkspay
Looking For A Boy (George & Ira Gershwin) from TIP TOES, played by Harry Perrella
Issued in May 1926, this Fox-Trot piano roll is played by Harry Perrella, who had a close history and association with the music of George Gershwin. Harry Pe...
- published: 13 May 2013
- views: 29
- author: Ednay Arkspay
4:37
SUMMERTIME - George & Ira Gershwin
Big Band del Conservatorio de Utiel · Alicia Martínez, voz · Marcos Forner, director · Tea...
published: 21 Jun 2010
author: Miguel Angel Mateu
SUMMERTIME - George & Ira Gershwin
Big Band del Conservatorio de Utiel · Alicia Martínez, voz · Marcos Forner, director · Teatro Rambal - Mayo 2010.
- published: 21 Jun 2010
- views: 1486
- author: Miguel Angel Mateu
photo: AP
28 May 2013
Armed men have opened fire on a military checkpoint in Lebanon's eastern Bekaa Valley, killing three soldiers before escaping across the border into Syria, according to a Lebanese military source. The source said two of the soldiers died in on Tuesday attack, which occurred near the town of Arsal, while a third died later in hospital ... 246 Source.. Agencies. Featured on Al Jazeera. Struggle and solidarity ... Al-Nakba ... News....(size: 6.2Kb)
Edit
Yahoo Music
23 May 2013
By Ira Teinowitz ... The Gershwin Prize commemorates George and Ira Gershwin, the legendary American songwriting team whose extensive manuscript collections are in the Library of Congress. The prize is awarded to musicians whose lifetime contributions in the field of popular song exemplify the standard of excellence associated with the Gershwins....(size: 1.5Kb)
Edit
The Examiner
23 May 2013
President Obama honors Carole King with 2013 Library of Congress Gershwin Prize ... President Obama made the favorable comparison to George and Ira Gershwin."Like the Gershwins, it’s not just that Carole lives the music ... The Gershwin Prize commemorates George and Ira Gershwin, the legendary American songwriting team whose extensive manuscript collections reside in the Library of Congress....(size: 11.3Kb)
Edit
Denver Post
23 May 2013
President Barack Obama presented her the 2013 Library of Congress Gershwin Prize for Popular Song at an In Performance at the White House concert honoring King in the East Room of the White House in Washington, May 22, 2013 ... The library has been handing out this songwriting award — named after American composers George and Ira Gershwin — since 2007....(size: 3.7Kb)
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Baltimore Sun
23 May 2013
Carole King has amassed some impressive accolades in her storied five-decade career. Now she can add the Library of Congress Gershwin Prize for Popular Song to her mantle. The prolific singer-songwriter was feted with the songwriting award — named after American composers George and Ira Gershwin — at a White House concert Wednesday night ... PHOTOS....(size: 1.5Kb)
Edit
The Washington Post
23 May 2013
In town to receive the Library of Congress’s Gershwin Prize for Popular Song, the 71-year-old songwriting pioneer was the first singer to take the stage in the East Dining Room, charging hard through a version of “Beautiful” from her 1971 solo opus, “Tapestry.” ... The library has been handing out this songwriting award — named after American composers George and Ira Gershwin — since 2007....(size: 3.5Kb)
Edit
noodls
23 May 2013
... "Will You Love Me Tomorrow" -- with Gerry Goffin. So at this point, all of you are feeling like underachievers. I understand. (Laughter.) It was pretty clear by this time that this promising young musician from New York -- who grew up not far from where George and Ira Gershwin were born -- was destined for similar heights....(size: 5.1Kb)
Edit
The Columbus Dispatch
22 May 2013
The 71-year-old will receive the award today in a ceremony at the White House.The prize was established in 2007 to celebrate the music-writing team of George and Ira Gershwin....(size: 1.1Kb)
Edit
USA Today
22 May 2013
She took the stage Tuesday night after being saluted by Patti Austin, Colbie Caillat and Shelby LynneKing is the first female recipient of the award, named for George and Ira GershwinWednesday night's White House tribute will feature Billy Joel, James Taylor and Trisha Yearwood ... Host Michael Feinstein kicked off the night, sitting on the piano and launching into George and Ira Gershwin's famed S Wonderful....(size: 3.4Kb)
Edit
Bloomberg
22 May 2013
The first female Speaker of the House, Nancy Pelosi, praised Carole King, the first female recipient of the Gershwin Prize for Popular Song ... “I wouldn’t dare name a favorite,” Pelosi, now the House minority leader, said before sitting down for lunch in the Members’ Room of the Library of Congress, which for the last five years has presented the prize in honor of George and Ira Gershwin....(size: 2.6Kb)
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noodls
21 May 2013
As the 2013 recipient of the prize, which commemorates George and Ira Gershwin-the legendary American songwriting team whose extensive collection resides in the Library of Congress-King is being celebrated by the nation's top leaders and artists ... The Library of Congress is home to the George and Ira Gershwin Collection, the world's preeminent resource for the documentary legacy of the Gershwin brothers....(size: 7.9Kb)
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The Washington Post
21 May 2013
GoingOut Guide ... After a career spanning five decades, more than 20 solo albums and numerous high-profile honors, the 71-year-old King is the first woman to receive the Library of Congress’s Gershwin Prize for Popular Song. The award, established in 2007 to celebrate the music-writing team of George and Ira Gershwin, will be presented at the White House on Wednesday, after a Tuesday concert in her honor at the Library of Congress....(size: 4.8Kb)
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The Examiner
19 May 2013
I thank my mother for introducing me to the joy of the music of George and Ira Gershwin ... From the simplest of ditties, to melodies Rhapsody In Blue - the Gershwins created an astonishing amount of work ... During one of these conversations, I said to him "George and Ira Gershwin had each other to write music and lyrics together- as did Paul McCartney and John Lennon ... Thank you George and Ira Gershwin and THANK YOU, my friend Billy Joel....(size: 7.4Kb)
Edit
The Examiner
19 May 2013
The Library of Congress created the Gershwin Prize to honor artists whose lifetime contributions in popular song exemplify the excellence of George and Ira Gershwin. The Library is home to the George and Ira Gershwin Collection, which includes George’s piano and desk, Ira’s typing table and typewriter, and thousands of their manuscripts, printed music, photographs, correspondence, scrapbooks, and other treasures....(size: 7.8Kb)
| Ira Gershwin | |
|---|---|
| File:Ira gershwin.jpg | |
| Background information | |
| Birth name | Israel Gershowitz |
| Also known as | Israel Gershvin Arthur Francis |
| Born | (1896-12-06)December 6, 1896 New York City, USA |
| Died | August 17, 1983(1983-08-17) (aged 86) Beverly Hills, California, USA |
| Genres | Popular Classical |
| Occupations | Lyricist |
| Years active | 1910s-1980s |
Ira Gershwin (December 6, 1896 – August 17, 1983) was an American lyricist who collaborated with his younger brother, composer George Gershwin, to create some of the most memorable songs of the 20th century.[1]
With George he wrote more than a dozen Broadway shows, featuring songs such as "I Got Rhythm", "Embraceable You", "The Man I Love" and "Someone to Watch Over Me". He was also responsible, along with DuBose Heyward, for the libretto to George's opera Porgy and Bess.
The success the brothers had with their collaborative works has often overshadowed the creative role that Ira played. However, his mastery of songwriting continued after the early death of George. He wrote additional hit songs with composers Jerome Kern ("Long Ago (and Far Away)"), Kurt Weill and Harold Arlen.
His critically acclaimed book Lyrics on Several Occasions of 1959, an amalgam of autobiography and annotated anthology, is an important source for studying the art of the lyricist in the golden age of American popular song.[2]
Contents |
Biography[link]
Gershwin was born Israel Gershowitz in New York City to Morris (Moishe) and Rose Gershovitz who changed the family name to Gershvin well before their children rose to fame (it was not spelled "Gershwin" until later). Shy in his youth, he spent much of his time at home reading, but from grammar school through college, he played a prominent part in several school newspapers and magazines. He graduated from Townsend Harris High School in 1914, where he met Yip Harburg. He attended the City College of New York but dropped out.[3][4]
While his younger brother began composing and "plugging" in Tin Pan Alley from the age of eighteen, Ira worked as a cashier in his father's Turkish baths.[5] It was not until 1921 that Ira became involved in the music business. Alex Aarons signed Ira to write the music for his next show, Two Little Girls in Blue (written under the pseudonym "Arthur Francis"), ultimately produced by Abraham Erlanger, with co-composers Vincent Youmans and Paul Lannin. Gershwin's lyrics were well received, and allowed him to successfully enter the theatre world with just one show.[4]
It was not until 1924 that Ira and George Gershwin teamed up to write the music for their first Broadway hit Lady, Be Good!. Once the brothers joined together, their combined talents became one of the most influential forces in the history of American Musical Theatre. "When the Gershwins teamed up to write songs for Lady, Be Good, the American musical found its native idiom".[6] Together, they wrote the music for more than twelve shows and four films. Some of their more famous works include "The Man I Love", "Fascinating Rhythm", "Someone to Watch Over Me", "I Got Rhythm", and "They Can't Take That Away from Me".[2] Their partnership continued until George's sudden death from a brain tumor in 1937. Following his brother's death, Ira waited nearly three years before writing again.
After this interlude, he teamed up with such accomplished composers as Jerome Kern (Cover Girl); Kurt Weill (Where Do We Go from Here? and Lady in the Dark); and Harold Arlen (Life Begins at 8:40; A Star Is Born).[4] Over the next fourteen years, Gershwin continued to write the lyrics for many film scores and a few Broadway shows. But the failure of Park Avenue in 1946, a "smart" show about divorce, co-written with composer Arthur Schwartz, was his farewell to Broadway.[7] As he wrote at the time, "Am reading a couple of stories for possible musicalization (if there is such a word) but I hope I don't like them as I think I deserve a long rest."[8] In 1947, he took eleven songs George had written but never used, provided them with new lyrics, and incorporated them into the Betty Grable film The Shocking Miss Pilgrim and he later wrote comic lyrics for Billy Wilder's movie Kiss Me, Stupid--although most critics believe his final major work was for the 1954 Judy Garland film, A Star Is Born).[4]
American singer, pianist, musical historian Michael Feinstein worked for Gershwin in the lyricist's latter years, helping him with his archive. Several lost musical treasures were unearthed during this period, and Feinstein performed some of the material.[9]
Awards and honors[link]
Three of Gershwin's songs ("They Can't Take That Away From Me" (1937), "Long Ago and Far Away" (1944) and "The Man That Got Away" (1954)) were nominated for an Academy Award for Best Original Song, though none won.[10]
Gershwin, along with George S Kaufman and Morrie Ryskind, was a recipient of the 1932 Pulitzer Prize for Drama for Of Thee I Sing.[11]
The George and Ira Gershwin Lifetime Musical Achievement Award was established in 1988 by UCLA to honor the brothers for their contribution to music and for their gift to UCLA of the fight song "Strike Up the Band for UCLA". Past winners have included Angela Lansbury (1988), Ray Charles (1991), Mel Tormé (1994), Bernadette Peters (1995), Frank Sinatra (2000), Stevie Wonder (2002), k.d. lang (2003), James Taylor (2004), Babyface (2005), Burt Bacharach (2006), Quincy Jones (2007), Lionel Richie (2008) and Julie Andrews (2009).[12]
Legacy[link]
Ira Gershwin was a joyous listener to the sounds of the modern world. "He had a sharp eye and ear for the minutiae of living." He noted in a diary: "Heard in a day: An elevator's purr, telephone's ring, telephone's buzz, a baby's moans, a shout of delight, a screech from a 'flat wheel', hoarse honks, a hoarse voice, a tinkle, a match scratch on sandpaper, a deep resounding boom of dynamiting in the impending subway, iron hooks on the gutter."[13]
In 1987, Ira's widow, Leonore Gershwin, established the Ira Gershwin Literacy Center at University Settlement, a century-old institution at 185 Eldridge Street on the Lower East Side, New York City. The Center is designed to give English-language programs to primarily Hispanic and Chinese Americans. Ira and his younger brother George spent many after-school hours at the Settlement.[14]
The George and Ira Gershwin Collection is at the Library of Congress Music Division.[15] The Edward Jablonski and Lawrence D. Stewart Gershwin Collection at the Harry Ransom Humanities Research Center at the University of Texas at Austin holds a number of Ira's manuscripts and other material.[16]
In 2007, the Library of Congress named its Prize for Popular Song after him and his brother George. Recognizing the profound and positive effect of popular music on the world's culture, the prize will be given annually to a composer or performer whose lifetime contributions exemplify the standard of excellence associated with the Gershwins. On March 1, 2007, the Library of Congress announced that Paul Simon, one of America's most respected songwriters and musicians, was the first recipient of the annual Library of Congress Gershwin Prize for Popular Song.[17] The second Gershwin Prize for Popular Song was awarded to Stevie Wonder by U.S. President Barack Obama on February 25, 2009.[18]
Personal life[link]
He married Leonore (née Strunsky) in 1926.[19] He died in Beverly Hills, California, on August 17, 1983 at the age of 86. He is interred at Westchester Hills Cemetery, Hastings-on-Hudson, New York.
Notable songs[link]
- "But Not For Me"
- "Embraceable You"
- "I Can't Get Started"
- "I Got Rhythm"
- "Nice Work if You Can Get It"
- "The Man I Love"
- "They Can't Take That Away From Me"
- "Someone to Watch Over Me"
- "'S Wonderful"
- "The Man That Got Away"
- "Strike Up the Band"
References[link]
- ^ Obituary Variety, August 24, 1983.
- ^ a b Ira Gershwin biography pbs.org, March 17, 2009
- ^ Furia, pp.3-4, 11
- ^ a b c d Ira Gershwin biography allmusic.com, accessed March 17, 2009
- ^ Furia, p. 26
- ^ Furia, p. 45
- ^ The Stage
- ^ Ira Gershwin quoted by Edward Jablonski in Gershwin: A Biography, New York: Simon & Schuster (1988) ISBN 0-671-69931-8
- ^ Feinstein biography musicianguide.com, accessed March 17, 2009
- ^ Gershwin (1959)
- ^ Brennan, Elizabeth A., "Who's who of Pulitzer Prize winners" (1999), Greenwood Publishing Group, ISBN 1-57356-111-8, p. 100
- ^ Gershwin Award Winners uclalumni.net, accessed May 11, 2009
- ^ Rosenberg, p.31
- ^ Staff.Widow of Ira Gershwin Endows Literacy Center",The New York Times, March 25, 1987
- ^ The Library of Congress Gershwin Collection The Library of Congress, accessed March 17, 2009
- ^ Harry Ransom Humanities Research Center at the University of Texas at Austin
- ^ LoC: "Paul Simon To Be Awarded First Annual Gershwin Prize for Popular Song by Library of Congress"
- ^ LoC: "President Obama Gives Gershwin Prize for Popular Song to Stevie Wonder Feb. 25"
- ^ Brennan, p.100
Sources[link]
- Gershwin, Ira (1959). Lyrics on Several Occasions (First ed.). New York: Knopf. OCLC 538209.
- Rosenberg, Deena (1991). Fascinating Rhythm: The Collaboration of George and Ira Gershwin. Penguin Books USA. ISBN 0-525-93356-5.
- Gershwin, Ira; Kimball, Robert (1993). The Complete Lyrics of Ira Gershwin (First ed.). New York: Alfred A Knopf. ISBN 0-394-55651-8.
- Furia, Philip (1996). Ira Gershwin: The Art of the Lyricist (First ed.). New York: Oxford University Press. ISBN 0-19-508299-0.
External links[link]
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Wikiquote has a collection of quotations related to: Ira Gershwin |
- Official website
- Ira Gershwin at the Internet Broadway Database
- Ira Gershwin at the Internet Movie Database
- Library of Congress Gershwin collection
- Ira Gershwin Collection at the Harry Ransom Center at the University of Texas at Austin
- Gershwin fan site
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| Name | Gershwin, Ira |
| Alternative names | |
| Short description | |
| Date of birth | December 6, 1896 |
| Place of birth | New York City, USA |
| Date of death | August 17, 1983 |
| Place of death | Beverly Hills, California, USA |
http://wn.com/Ira_Gershwin
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Ira_Gershwin
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is about the American composer. For other uses, see Gershwin (disambiguation).
George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist.[1][2] Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best known works are the orchestral compositions Rhapsody in Blue and An American in Paris, as well as the opera Porgy and Bess.
Born in Brooklyn to a Ukrainian father of Jewish descent and a Russian mother, Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark and Henry Cowell. He began his career as a song plugger, but soon thereafter started composing Broadway theatre works with his brother Ira Gershwin and Buddy DeSylva. He moved to Paris in an attempt to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and author DuBose Heyward. Initially a commercial failure, Porgy and Bess is now considered one of the most important American operas of the Twentieth Century. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor.
Gershwin's compositions have been used in numerous films and on television, and several became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Contents |
Biography[link]
Early life[link]
George Gershwin was named Jacob Gershvin when born in Brooklyn, New York, on September 26, 1898. His parents were Jewish and from Odessa (Ukraine). His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' some time after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already emigrated from Russia. She met Gershvin in New York and they married on July 21, 1895.[3] George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.
George Gershwin was the second of four children[4], the others being Ira (1896-1983), Arthur (1900-1981), and Frances (1906-1999). He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[5] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[6] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet; painting was also a hobby of George Gershwin.
Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[7] At home, following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard. He later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
Tin Pan Alley[link]
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On leaving school at the age of 15, Gershwin found his first job as a "song plugger" for Jerome H. Remick and Company, a publishing firm on New York City's Tin Pan Alley, where he earned $15 a week. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em." It was published in 1916 when Gershwin was only 17 years old and earned him $5. His 1917 novelty rag "Rialto Ripples" was a commercial success, and in 1919 he scored his first big national hit with his song "Swanee" with words by Irving Caesar. Al Jolson, a famous broadway singer of the day, heard George perform "Swanee" at a party and decided to sing it in one of his shows.[8] In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and assumed names. (Pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn.) He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano.[9]
In the early 1920s Gershwin frequently worked with the lyricist Buddy DeSylva. Together they created the experimental one-act jazz opera Blue Monday set in Harlem, which is widely regarded as a forerunner to the groundbreaking Porgy and Bess.
In 1924, George and Ira Gershwin collaborated on a stage musical comedy Lady Be Good, which included such future standards as "Fascinating Rhythm" and "Oh, Lady Be Good!".[10]
This was followed by Oh, Kay! (1926);[11] Funny Face (1927);[12] Strike Up the Band (1927 and 1930); Gershwin gifted the song with a modified title to UCLA to be used as a football fight song, "Strike Up The Band for UCLA".[13] Show Girl (1929);[14] Girl Crazy (1930),[15] which introduced the standard "I Got Rhythm"; and Of Thee I Sing (1931),[16] the first musical comedy to win a Pulitzer Prize (for Drama).[17]
Europe and classical music[link]
In 1924, Gershwin composed his first major classical work, Rhapsody in Blue for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman's concert band in New York. It proved to be his most popular work.
Gershwin stayed in Paris for a short period of time during which he applied to study composition with the famous instructor Nadia Boulanger who, along with several other prospective tutors such as Maurice Ravel, rejected him, being afraid that rigorous classical study would ruin his jazz-influenced style.[18] While there, Gershwin wrote An American in Paris. This work received mixed reviews upon its first performance at Carnegie Hall on December 13, 1928, but it quickly became part of the standard repertoire in Europe and the United States.[19] Growing tired of the Parisian musical scene, Gershwin returned to the United States.
In 1929, Gershwin was contracted by Fox Film Corporation to compose the score for the movie Delicious. Only two pieces were used in the final film, the five-minute "Dream Sequence" and the six-minute "Manhattan Rhapsody". Gershwin became infuriated when the rest of the score was rejected by Fox Film Corporation, and it would be seven years before he worked in Hollywood again.
Opera[link]
Gershwin's most ambitious composition was Porgy and Bess (1935). Gershwin called it a "folk opera," and it is now widely regarded as one of the most important American operas of the twentieth century. "From the very beginning, it was considered another American classic by the composer of 'Rhapsody in Blue' — even if critics couldn't quite figure out how to evaluate it. Was it opera, or was it simply an ambitious Broadway musical? 'It crossed the barriers,' says theater historian Robert Kimball. 'It wasn't a musical work per se, and it wasn't a drama per se — it elicited response from both music and drama critics. But the work has sort of always been outside category."[20]
Based on the novel Porgy by DuBose Heyward, the action takes place in the fictional all-black neighborhood of Catfish Row in Charleston, South Carolina. With the exception of several minor speaking roles, all of the characters are black. The music combines elements of popular music of the day, with a strong influence of Black music, with techniques typical of opera, such as recitative, through-composition and an extensive system of leitmotifs. Porgy and Bess contains some of Gershwin's most sophisticated music, including a fugue, a passacaglia, the use of atonality, polytonality and polyrhythm, and a tone row. Even the "set numbers" (of which "Summertime", "I Got Plenty o' Nuttin'" and "It Ain't Necessarily So" are well known examples) are some of the most refined and ingenious of Gershwin's output. For the performances, Gershwin collaborated with Eva Jessye, whom he picked as the musical director. One of the outstanding musical alumnae of Western University in Kansas, she had created her own choir in New York and performed widely with them. The work was first performed in 1935; it was a box office failure.
Last years[link]
After the failure of Porgy and Bess, Gershwin moved to Hollywood, California. He was commissioned by RKO Pictures in 1936 to write the music for Shall We Dance, starring Fred Astaire and Ginger Rogers. Gershwin's extended score, which would marry ballet with jazz in a new way, runs over an hour in length. It took Gershwin several months to write and orchestrate it.
Early in 1937, Gershwin began to complain of blinding headaches and a recurring impression that he was smelling burned rubber. Doctors discovered he had developed a type of cystic malignant brain tumor known as glioblastoma multiforme.[21]
The diagnosis of glioblastoma multiforme has been questioned.[22] The surgeon's description of Gershwin's tumor as a right temporal lobe cyst with a mural nodule is much more consistent with a pilocytic astrocytoma, a very low grade of brain tumor.[23] Further, Gershwin's initial olfactory hallucination (the unpleasant smell of burning rubber) was in 1934. It is highly unlikely that a glioblastoma multiforme would cause symptoms of that duration prior to causing death. Pilocytic astrocytomas may cause symptoms for twenty or more years prior to diagnosis. Thus, it is possible that Gershwin's prominent chronic gastrointestinal symptoms (which he called his "composer's stomach") were a manifestation of temporal lobe epilepsy caused by his tumor.[24] If this is correct, then[original research?] Gershwin was not "a notorious hypochondriac," as suggested by his biographer Edward Jablonski (who wrote, in a letter to the editor, that "Gershwin was a notorious hypochondriac, beginning as early as 1922, and his complaints were not taken seriously").[25]
In January 1937, Gershwin performed in a special concert of his music with the San Francisco Symphony Orchestra under the direction of French maestro Pierre Monteux.[26] Gershwin suffered "musical blackouts" during his final performances. In early June, Gershwin collapsed while working on the score of The Goldwyn Follies in Hollywood, and was rushed to the hospital.[25] He died only two days later on July 11 at the age of 38 at Cedars of Lebanon Hospital following surgery for the tumor.[27] John O'Hara remarked: "George Gershwin died on July 11, 1937, but I don't have to believe it if I don't want to."[28] He was interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. A memorial concert was held at the Hollywood Bowl on September 8, 1937 at which Otto Klemperer conducted his own orchestration of the second of Gershwin's Three Piano Preludes.[29]
Gershwin received his sole Academy Award nomination, for Best Original Song, at the 1937 Oscars, for "They Can't Take That Away from Me" written with his brother Ira for the 1937 film Shall We Dance. The nomination was posthumous; Gershwin died two months after the film's release.[30]
Gershwin had a ten-year affair with composer Kay Swift and frequently consulted her about his music, though the two never married. Kay Swift's granddaughter, Katharine Weber, has suggested that the pair never married because George's mother Rose was "unhappy that Kay Swift wasn't Jewish."[31] Oh, Kay was named for her.[32] After Gershwin died, Swift arranged some of his music, transcribed some of his recordings, and collaborated with his brother Ira on several projects.[33]
Gershwin died intestate. His property was passed to his mother.[34] The Gershwin estate continues to collect significant royalties from licensing the copyrights on Gershwin's work. The estate supported the Sonny Bono Copyright Term Extension Act because its 1923 cutoff date was shortly before Gershwin had begun to create his most popular works. The copyrights on all Gershwin's solo works expired at the end of 2007 in the European Union, based on the life plus 70 years rule in force in the EU.
In 2005, The Guardian determined using "estimates of earnings accrued in a composer's lifetime" that George Gershwin was the wealthiest composer of all time.[35]
Legacy and honors[link]
- The 1945 biographical film Rhapsody in Blue starred Robert Alda as George Gershwin.
- George Gershwin was inducted into the Long Island Music Hall of Fame in 2006.
- The Gershwin Theatre on Broadway is named after George and Ira.[36]
- The George and Ira Gershwin Lifetime Musical Achievement Award was established by UCLA to honor the brothers for their contribution to music and for their gift to UCLA of the fight song "Strike Up the Band for UCLA." Past winners have included Angela Lansbury (1988), Ray Charles (1991), Mel Torme (1994), Bernadette Peters (1995), Frank Sinatra (2000), Stevie Wonder (2002), k.d. lang (2003), James Taylor (2004), Babyface (2005), Burt Bacharach (2006), Quincy Jones (2007), Lionel Richie (2008) and Julie Andrews (2009).
- The Congressional Gold Medal was awarded to George and Ira Gershwin in 1985. Only three other songwriting recipients, George M. Cohan, Harry Chapin and Irving Berlin, have had the honor of receiving this award.[37][38]
- In Brooklyn, George Gershwin Junior High School 166 is named after him.[39]
Musical style and influence[link]
Gershwin was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin's abilities, commenting, "Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin's works and I find them intriguing."[40] The orchestrations in Gershwin's symphonic works often seem similar to those of Ravel; likewise, Ravel's two piano concertos evince an influence of Gershwin.
Gershwin asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, "You should give me lessons." (Some versions of this story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel.)[41]
Gershwin's own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter Gershwin from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: "The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original."[42]
Aside from the French influence, Gershwin was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud, and Arnold Schoenberg. He also asked Schoenberg for composition lessons. Schoenberg refused, saying "I would only make you a bad Schoenberg, and you're such a good Gershwin already."[43] (This quote is similar to one credited to Maurice Ravel during Gershwin's 1928 visit to France – "Why be a second-rate Ravel, when you are a first-rate Gershwin?")
Russian Joseph Schillinger's influence as Gershwin's teacher of composition (1932–1936) was substantial in providing him with a method of composition. There has been some disagreement about the nature of Schillinger's influence on Gershwin. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such assistance for this work. A third account of Gershwin's musical relationship with his teacher was written by Gershwin's close friend Vernon Duke, also a Schillinger student, in an article for the Musical Quarterly in 1947.[44]
What set Gershwin apart was his ability to manipulate forms of music into his own unique voice. He took the jazz he discovered on Tin Pan Alley into the mainstream by splicing its rhythms and tonality with that of the popular songs of his era. Although George Gershwin would seldom make grand statements about his music, he believed that "true music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today."[45]
In 2007, the Library of Congress named their Prize for Popular Song after George and Ira Gershwin. Recognizing the profound and positive effect of popular music on culture, the prize is given annually to a composer or performer whose lifetime contributions exemplify the standard of excellence associated with the Gershwins. On March 1, 2007, the first Gershwin Prize was awarded to Paul Simon.[46]
Recordings and film[link]
Early in his career Gershwin recorded more than one hundred and forty player piano piano rolls both under his own name and pseudonyms, which were a main source of income for him. The majority are popular music of the period and a smaller proportion are of his own works. Once his musical theatre-writing income became substantial his regular roll-recording career became superfluous. He did record additional rolls throughout the 1920s of his main hits for the Aeolian Company's reproducing piano, including a complete version of his Rhapsody in Blue.
Compared to the piano rolls, there are few accessible audio recordings of Gershwin's playing. His first recording was his own Swanee with the Fred Van Eps Trio in 1919. The recorded balance highlights the banjo playing of Van Eps, and the piano is overshadowed. The recording took place before Swanee became famous as an Al Jolson specialty in early 1920.
Gershwin did record an abridged version of Rhapsody in Blue with Paul Whiteman and his orchestra for the Victor Talking Machine Company in 1924, soon after the world premiere. Gershwin and the same orchestra made an electrical recording of the abridged version for Victor in 1927. However, a dispute in the studio over interpretation angered Paul Whiteman and he left. The conductor's baton was taken over by Victor's staff conductor Nathaniel Shilkret.[47]
Gershwin made a number of solo piano recordings of tunes from his musicals, some including the vocals of Fred and Adele Astaire, as well as his Three Preludes for piano. In 1929, Gershwin "supervised" the world premiere recording of An American in Paris with Nathaniel Shilkret and the Victor Symphony Orchestra. Gershwin's role in the recording was rather limited, particularly because Shilkret was conducting and had his own ideas about the music. When it was realized that no one had been hired to play the brief celeste solo, Gershwin was asked if he could and would play the instrument, and he agreed. Gershwin can be heard, rather briefly, on the recording during the slow section.
Gershwin appeared on several radio programs, including Rudy Vallee's, and played some of his compositions. This included the third movement of the Concerto in F with Vallee conducting the studio orchestra. Some of these performances were preserved on transcription discs and have been released on LP and CD.
In 1934, in an effort to earn money to finance his planned folk opera, Gershwin hosted his own radio program titled Music by Gershwin. The show was broadcast on the NBC Blue Network from February to May and again in September through the final show on December 23, 1934. He presented his own work as well as the work of other composers.[48] Recordings from this and other radio broadcasts include his Variations on I Got Rhythm, portions of the Concerto in F, and numerous songs from his musical comedies. He also recorded a run-through of his Second Rhapsody, conducting the orchestra and playing the piano solos. Gershwin recorded excerpts from Porgy and Bess with members of the original cast, conducting the orchestra from the keyboard; he even announced the selections and the names of the performers. In 1935 RCA Victor asked him to supervise recordings of highlights from Porgy and Bess; these were his last recordings.
A 74-second newsreel film clip of Gershwin playing I Got Rhythm has survived, filmed at the opening of the Manhattan Theater (now The Ed Sullivan Theater) in August 1931.[49] There are also silent home movies of Gershwin, some of them shot on Kodachrome color film stock, which have been featured in tributes to the composer. In addition, there is newsreel footage of Gershwin playing "Mademoiselle from New Rochelle" and "Strike Up the Band" on the piano during a Broadway rehearsal of the 1930 production of Strike Up the Band. In the mid-30s, "Strike Up The Band" was gifted to UCLA to be used as a football fight song, "Strike Up The Band for UCLA". The comedy team of Clark and McCullough are seen conversing with Gershwin, then singing as he plays.
In 1965, Movietone Records released an album MTM 1009 featuring Gershwin's piano rolls of the titled George Gerswhin plays RHAPSODY IN BLUE and his other favorite compositions. The flip side of the LP featured 9 other recordings.
In 1975, Columbia Records released an album featuring Gershwin's piano rolls of the Rhapsody In Blue, accompanied by the Columbia Jazz Band playing the original jazz-band accompaniment, conducted by Michael Tilson Thomas. The flip side of the Columbia Masterworks release features Tilson Thomas leading the New York Philharmonic in An American In Paris. In 1976, RCA Records, as part of their "Victrola Americana" line released a collection of Gershwin recordings, taken from 78s recorded in the 1920s and called the LP "Gershwin plays Gershwin, Historic First Recordings" (RCA Victrola AVM1-1740) and included recordings of "Rhapsody in Blue" with the Paul Whiteman Orchestra and Gershwin on piano, "An American in Paris", from 1927 with Gershwin on celesta; "Three Preludes", "Clap Yo' Hands" and Someone to Watch Over Me", among others. There are a total of 10 recordings on the album.
In 1998, two audio CDs featuring piano rolls recorded Gershwin [50] were issued by Nonesuch Records through the efforts of Artis Woodhouse. It is entitled Gershwin Plays Gershwin: The Piano Rolls.[51]
Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Dean Martin, Al Jolson, Bobby Darin, Percy Grainger, Art Tatum, Yehudi Menuhin, Bing Crosby, The Moody Blues, Janis Joplin, John Coltrane, Frank Sinatra, Mel Tormé, Billie Holiday, Ella Fitzgerald, Sam Cooke, Diana Ross, Miles Davis, Herbie Hancock, Hiromi Uehara, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Kate Bush, Sublime, Sting, and Liquid Tension Experiment.
In October 2009, it was reported by Rolling Stone that Brian Wilson is completing at least two unfinished compositions by George Gershwin for possible release in 2010.[52] According to Wilson's Facebook page, the album is scheduled to be released on August 17, 2010.
Brian Wilson Reimagines Gershwin was released on 17th August 2010. The album consists of covers of ten George and Ira Gershwin songs, bookended by passages from Rhapsody in Blue, along with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett.
Baseline Studio Systems announced in January 2010 that Steven Spielberg may direct a biopic about the composer's life, which is scheduled for release in 2012; 32-year-old American actor Zachary Quinto has been named for the leading role of George Gershwin.[53][54]
Compositions[link]
Main article: List of compositions by George Gershwin
Orchestral
- Rhapsody in Blue (for piano and orchestra, 1924)
- Piano Concerto in F (1925)
- An American in Paris (for orchestra, 1928)
- Dream Sequence (for orchestra, 1929)
- Second Rhapsody, originally titled Rhapsody in Rivets (for piano and orchestra, 1931)
- Cuban Overture (for orchestra, 1932), originally entitled Rumba
- March from Strike Up the Band (for orchestra, 1934)
- Variations on "I Got Rhythm" (for piano and orchestra) (1934)
- Catfish Row (for orchestra, 1936) a suite based on music from Porgy and Bess
- Shall We Dance (1937 film) a movie score feature-length ballet
Solo Piano
- Preludes For Piano (1926)
- George Gershwin's Songbook (1932) (piano arrangements of eighteen songs)
Operas
- Blue Monday, (1922) one-act opera
- Porgy and Bess (1935) at the Colonial Theatre in Boston[55]
London Musicals
- Primrose (1924)
Broadway Musicals
- George White's Scandals (1920–1924) (featuring, at one point, the 1922 one-act opera Blue Monday)
- Lady, Be Good (1924)
- Tip-Toes (1925)
- Tell Me More! (1925)
- Oh, Kay! (1926)
- Strike Up the Band (1927)
- Funny Face (1927)
- Rosalie (1928)
- Show Girl (1929)
- Girl Crazy (1930)
- Of Thee I Sing (1931)
- Pardon My English (1933)
- Let 'Em Eat Cake (1933)
- My One and Only (1983) (an original 1983 musical using previously written Gershwin songs)
- Crazy for You (1992), a revised version of Girl Crazy, written and compiled without the participation of either George or Ira Gershwin.
Films for which Gershwin wrote original scores
- Delicious (1931) (an early version of the Second Rhapsody and one other musical sequence was used in this film, the rest were rejected by the studio)
- Shall We Dance (1937) (original orchestral score by Gershwin, no recordings available in modern stereo, some sections have never been recorded)
- A Damsel in Distress (1937)
- The Goldwyn Follies (1938) (posthumously released)
- The Shocking Miss Pilgrim (1947) (uses songs previously unpublished)
See also[link]
Notes[link]
- ^ Obituary Variety, July 14, 1937, page 70.
- ^ "George Gershwin, Composer, Is Dead; Master of Jazz Succumbs in Hollywood at 38 After Operation for Brain Tumor" The New York Times, (abstract), July 12, 1937, p. 1
- ^ Hyland, pp.1–3
- ^ Hyland, p.3
- ^ Schwartz, Charles (1973). Gershwin, His Life and Music. Da Capo Press, Inc.. p. 14. ISBN 0-306-80096-9.
- ^ Hyland, p.13
- ^ Hyland, p.14
- ^ Venezia, Mike (1994). Getting to Know the World's Greatest Composers: George Gerswhin. Chicago IL: Childrens Press.
- ^ Slide, Anthony. The Encyclopedia of Vaudeville, Westport, Connecticut: Greenwood Press, 1994. p. 111.
- ^ Lady, Be Good at the Internet Broadway Database, accessed August 22, 2011
- ^ Oh, Kay! at the Internet Broadway Database, accessed August 22, 2011
- ^ Funny Face at the Internet Broadway Database, accessed August 22, 2011
- ^ Strike Up the Band at the Internet Broadway Database, accessed August 22, 2011
- ^ Show Girl at the Internet Broadway Database, accessed August 22, 2011
- ^ Girl Crazy at the Internet Broadway Database, accessed August 22, 2011
- ^ Of Thee I Sing at the Internet Broadway Database, accessed August 22, 2011
- ^ "The Pulitzer Prizes, Drama" pulitzer.org, accessed August 22, 2011
- ^ Jablonski pp.155–170
- ^ Jablonski, pp.178–180
- ^ Grigsby Bates, Karen.70 Years of Gershwin's 'Porgy and Bess'" npr.org, October 10, 2005
- ^ USA. George Gershwin-illustrious American composer: his fatal glioblastoma. PMID 231388. PMID 231388.
- ^ Pollack p.214
- ^ Sloop GD. "What caused George Gershwin's untimely death?", Journal of Medical Biography 2001;9: 28–30.
- ^ Ljunggren B. "The case of George Gershwin". Neurosurgery 1982;10: 733–6.
- ^ a b Jablonski, Edward. "George Gershwin; He Couldn't Be Saved" (Letter to Editor), New York Times, October 25, 1998, Section 2; Page 4; Column 5
- ^ Pollack, p. 353
- ^ Hyland, p.204
- ^ "Broad Street". Broadstreetreview.com. February 27, 2007. http://www.broadstreetreview.com/index.php/main/article/Gershwins_unrealized_potential/. Retrieved March 10, 2010.
- ^ Pollack, p.392
- ^ "1937 Song" oscars.org, accessed August 22, 2011
- ^ Sidney Offit (September/October 2011). "Sins of Our Fathers (and Grandmothers)". Moment Magazine. http://momentmag.com/moment/issues/2011/10/book_memory.html. Retrieved October 3, 2011.
- ^ Hyland p.108
- ^ Kay Swift biography (Kay Swift Memorial Trust). kayswift.com, Retrieved December 28, 2007.
- ^ Pollack, p.7
- ^ Scott, Kirsty.Gershwin leads composer rich list The Guardian, August 29, 2005, Retrieved December 28, 2007.
- ^ "History of the Gershwin Theater" gershwin-theater.com, accessed August 22, 2011
- ^ "In Performance at the White House:The Library of Congress:Gershwin Prize" pbs.org, retrieved April 15, 2010
- ^ "Congressional Gold Medal Recipients (1776 to Present)" Office of the Clerk, US House of Representatives (clerk.house.gov0, retrieved April 15, 2010
- ^ Richardson, Clem (October 23, 2009). "Tonya Lewis brings start power and true perfect to 'only-place-to-be' party". New York Daily News. http://articles.nydailynews.com/2009-10-23/local/17937690_1_music-industry-pop-culture-students/2. Retrieved June 15, 2011.
- ^ Mawer pp 42
- ^ Arthur Rubinstein, My Many Years; Merle Armitage, George Gershwin; Igor Stravinsky and Robert Craft, Dialogues and a Diary, all quoted in Norman Lebrecht, The Book of Musical Anecdotes
- ^ (Hyland pp 126)
- ^ Norman Lebrecht, The Book of Musical Anecdotes
- ^ Dukelsky, Vladimir (Vernon Duke), "Gershwin, Schillinger and Dukelsky: Some Reminiscences", The Musical Quarterly, Volume 33, 1947, 102–115 doi:10.1093/mq/XXXIII.1.102
- ^ "George Gershwin" balletmet.org, (Compiled February, 2000), retrieved April 20, 2010
- ^ "Paul Simon: The Library Of Congress Gershwin Prize For Popular Song", PBS article
- ^ Peyser, p. 133
- ^ Pollack, p. 163
- ^ Jablonski, Edward, Stewart, Lawrence D. The Gershwin Years. Doubleday: New York, 1973. 170.
- ^ George Gershwin and the player piano 1915–1927. richard-dowling.com, Retrieved December 28, 2007.
- ^ Yanow, Scott." 'Gershwin Plays Gershwin: The Piano Rolls' Overview" allmusic.com, accessed August 22, 2011
- ^ "Brian Wilson Will Complete Unfinished Gershwin Compositions" rollingstone.com, October 2009
- ^ Holden, Stephen. "Gershwin". Movies.nytimes.com. http://movies.nytimes.com/movie/460666/Gershwin/overview. Retrieved March 10, 2010.
- ^ Rosenberg, Adam."Zachary Quinto May Play George Gershwin for Steven Spielberg" moviesblog.mtv.com, February 1, 2010
- ^ Jablonski, Edward and Lawrence D. Stewart. The Gershwin Years: George and Ira. Garden City, New Jersey: Doubleday & Company, 1973. Second edition. ISBN 0-306-80739-4, pp. 25, 227–229.
References[link]
- Hyland, William G. George Gershwin : A New Biography (2003), Praeger Publishers, ISBN 0-275-98111-8
- Jablonski, Edward Gershwin (1987), Doubleday, ISBN 0-385-19431-5
- Kimball, Robert & Alfred Simon. The Gershwins (1973), Athenium, New York, ISBN 0-689-10569-X
- Mawer, Deborah (Editor). Cross, Jonathan (Series Editor). The Cambridge Companion to Ravel (Cambridge Companions to Music) (2000), Cambridge University Press, ISBN 0-521-64856-4
- Peyser, Joan. The Memory of All That:The Life of George Gershwin (2007), Hal Leonard Corporation, ISBN 1-4234-1025-4
- Pollack, Howard. George Gershwin. His Life and Work (2006), University of California Press, ISBN 978-0-520-24864-9
- Rimler, Walter. A Gershwin Companion (1991), Popular Culture ISBN 1-56075-019-7
- Rimler, Walter George Gershwin : An Intimate Portrait (2009), University of Illinois Press, ISBN 0-252-03444-9
- Sloop, Gregory. "What Caused George Gershwin's Untimely Death?" Journal of Medical Biography 9 (February 2001): 28–30
Further reading[link]
- Carnovale, Norbert. George Gershwin: a Bio-Bibliography (2000. ) Greenwood Press. ISBN 978-0-313-26003-2 ISBN 0-313-26003-6
- Alpert, Hollis. The Life and Times of Porgy and Bess: The Story of an American Classic (1991). Nick Hern Books. ISBN 1-85459-054-5
- Feinstein, Michael. Nice Work If You Can Get It: My Life in Rhythm and Rhyme (1995), Hyperion Books. ISBN 0-7868-8220-4
- Jablonski, Edward. Gershwin Remembered (2003). Amadeus Press. ISBN 0-931340-43-8
- Rosenberg, Deena Ruth. Fascinating Rhythm: The Collaboration of George and Ira Gershwin (1991). University of Michigan Press ISBN 978-0-472-08469-2
- Sheed, Wilfred. The House That George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty (2007). Random House. ISBN 0-8129-7018-7
- Suriano, Gregory R. (Editor). Gershwin in His Time: A Biographical Scrapbook, 1919–1937 (1998). Diane Pub Co. ISBN 0-7567-5660-X
- Wyatt, Robert and John Andrew Johnson (Editors). The George Gershwin Reader (2004). Oxford University Press. ISBN 0-19-513019-7
External links[link]
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Wikiquote has a collection of quotations related to: George Gershwin |
 |
Wikimedia Commons has media related to: George Gershwin |
- Free scores by George Gershwin at the International Music Score Library Project
- Free scores at the Mutopia Project
- MusicalTalk Podcast on George Gershwin (part one of two)
- MusicalTalk Podcast on George Gershwin (part two of two)
- Official Site
- Classical.net Gershwin page
- George Gershwin at the Internet Broadway Database
- George Gershwin at the Internet Movie Database
- Works by or about George Gershwin in libraries (WorldCat catalog)
- George Gershwin Bio at Jewish-American Hall of Fame
- George Gershwin Collection at the Harry Ransom Center at the University of Texas at Austin
- George Gershwin WWI draft card at National Archives
- 1922 passport photo, George Gershwin (flickr.com)
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| Persondata | |
|---|---|
| Name | Gershwin, George |
| Alternative names | |
| Short description | American composer |
| Date of birth | (1898-09-26)September 26, 1898 |
| Place of birth | Brooklyn, New York, U.S. |
| Date of death | July 11, 1937(1937-07-11) |
| Place of death | Hollywood, California, U.S. |
http://wn.com/George_Gershwin
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/George_Gershwin
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Ella Fitzgerald | |
|---|---|
 photo by Carl Van Vechten, 1940 |
|
| Background information | |
| Birth name | Ella Jane Fitzgerald |
| Also known as | First Lady of Song, Lady Ella |
| Born | (1917-04-25)April 25, 1917 Newport News, Virginia |
| Died | June 15, 1996(1996-06-15) (aged 79) Beverly Hills, California |
| Genres | Swing, traditional pop, vocal jazz |
| Occupations | Vocalist |
| Instruments | Piano |
| Years active | 1934-1993 |
| Labels | Capitol, Decca, Pablo, Reprise, Verve |
| Website | Official website |
Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996), also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", was an American jazz and song vocalist.[1] With a vocal range spanning three octaves (D♭3 to D♭6), she was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
Fitzgerald was a notable interpreter of the Great American Songbook.[2] Over the course of her 59-year recording career, she was the winner of 13 Grammy Awards and was awarded the National Medal of Arts by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.
Contents |
Early life[link]
Fitzgerald was born in Newport News, Virginia, the child of a common-law marriage between William and Temperance "Tempie" Fitzgerald.[3] The pair separated soon after her birth and she and her mother went to Yonkers, New York, where they eventually moved in with Tempie's longtime boyfriend, Joseph Da Silva. Fitzgerald's half-sister, Frances Da Silva, was born in 1923. She and her family were Methodists and were active in the Bethany African Methodist Episcopal Church and she regularly attended worship services, Bible study, and Sunday School.[4][5]
In her youth Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."[6]
In 1932, her mother died from a heart attack.[3] Following this trauma, Fitzgerald's grades dropped dramatically and she frequently skipped school. Abused by her stepfather, she was first taken in by an aunt [7] and at one point worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner.[8] When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, the Bronx.[9] However, when the orphanage proved too crowded she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory. Eventually she escaped and for a time was homeless.[7]
She made her singing debut at 17 on November 21, 1934, at the Apollo Theater in Harlem, New York. She pulled in a weekly audience at the Apollo and won the opportunity to compete in one of the earliest of its famous "Amateur Nights". She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead in the style of Connee Boswell. She sang Boswell's "Judy" and "The Object of My Affection," a song recorded by the Boswell Sisters, and won the first prize of US$25.00.[10]
Later life[link]
Fitzgerald married at least twice, and there is evidence that she may have married a third time. In 1941 she married Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled after two years.
Her second marriage, in December 1947, was to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie's band a year earlier. Together they adopted a child born to Fitzgerald's half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by her aunt, Virginia. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.[6]
In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged.[3]
Fitzgerald was also notoriously shy. Trumpet player Mario Bauza, who played behind Fitzgerald in her early years with Chick Webb, remembered that "she didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig."[3] When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, "I don't want to say the wrong thing, which I always do. I think I do better when I sing."[10]
Already visually impaired by the effects of diabetes, Fitzgerald had both her legs amputated in 1993.[3] In 1996 she died of the disease in Beverly Hills, California at the age of 79. She is buried in the Inglewood Park Cemetery in Inglewood, California.[11] The career history and archival material from Ella's long career are housed in the Archives Center at the Smithsonian's National Museum of American History while her personal music arrangements are at The Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University while her published sheet music collection is at the Schoenberg Library at UCLA.
Career[link]
Big-band singing[link]
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb there. Webb had already hired singer Charlie Linton to work with the band and was, The New York Times later wrote, "reluctant to sign her....because she was gawky and unkempt, a diamond in the rough."[6] Webb offered her the opportunity to test with his band when they played a dance at Yale University.
She began singing regularly with Webb's Orchestra through 1935 at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)". But it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her wide public acclaim.
Chick Webb died on June 16, 1939, and his band was renamed "Ella and her Famous Orchestra" with Ella taking on the role of nominal bandleader. Fitzgerald recorded nearly 150 sides with the orchestra before it broke up in 1942, "the majority of them novelties and disposable pop fluff".[6]
Decca years[link]
In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits while recording with such artists as the Ink Spots, Louis Jordan, and the Delta Rhythm Boys.
With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Fitzgerald's relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.
With the demise of the Swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It this in was period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."[10]
Her 1945 scat recording of "Flying Home" arranged by Vic Schoen would later be described by The New York Times as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness."[6] Her bebop recording of "Oh, Lady be Good!" (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.[citation needed]
Move to Verve and mainstream success[link]
Further information: The Complete Ella Fitzgerald Songbooks
Fitzgerald was still performing at Granz's JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her.
Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it', and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman ... felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life."[6]
Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight multi-album Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience.
Ella Fitzgerald Sings the Duke Ellington Songbook was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks and wrote two new pieces of music for the album: "The E and D Blues" and a four-movement musical portrait of Fitzgerald (the only Songbook track on which Fitzgerald does not sing). The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."[6]
A few days after Fitzgerald's death, New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians."[8] Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein.
Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antonio Carlos Jobim.
While recording the Songbooks and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[6]
In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005. There are several live albums on Verve that are highly regarded by critics. Ella at the Opera House shows a typical JATP set from Fitzgerald. Ella in Rome and Twelve Nights In Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best selling albums; it includes a Grammy-winning performance of "Mack the Knife" in which she forgets the lyrics, but improvises magnificently to compensate.
Voice[link]
As Will Friedwald noted,
Unlike any other singer you could name, Fitzgerald has the most amazing asset in the very sound of her voice: it's easily one of the most beautiful and sonically perfect sounds known to man. Even if she couldn't do anything with it, the instrument that Fitzgerald starts with is dulcet and pure and breathtakingly beautiful. As Henry Pleasants has observed, she has a wider range than most opera singers, and many of the latter, including Dietrich Fischer-Dieskau, are among her biggest fans. And the intonation that goes with the voice is, to put it conservatively, God-like. Fitzgerald simply exists in tune, and she hits every note that there is without the slightest trace of effort. Other singers tend to sound like they're trying to reach up to a note - Fitzgerald always sounds like she's already there. If anything, she's descending from her heavenly perch and swooping down to whatever pitch she wants.[12]
Henry Pleasants, an American classical-music critic, wrote this about her:
She has a lovely voice, one of the warmest and most radiant in its natural range that I have heard in a lifetime of listening to singers in every category. She has an impeccable and ultimately sophisticated rhythmic sense, and flawless intonation. Her harmonic sensibility is extraordinary. She is endlessly inventive... it is not so much what she does, or even the way she does it, it's what she does not do. What she does not do, putting it simply as possible, is anything wrong. There is simply nothing in performance to which one would take exception... Everything seems to be just right. One would not want it any other way. Nor can one, for a moment imagine it any other way.[13] Fitzgerald had an extraordinary vocal range. A mezzo-soprano (who sang much lower than most classical contraltos), she had a range of “2 octaves and a sixth from a low D or D flat to a high C flat and possibly higher”.[13]
Later years[link]
Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald's contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald's Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson's "Get Ready", previously a hit for The Temptations, and some months later a top-five hit for Rare Earth.
The surprise success of the 1972 album Jazz at Santa Monica Civic '72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also documented the decline in her voice. "She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato", one biographer wrote.[3] Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.[14]
Film and television[link]
In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb's 1955 jazz film Pete Kelly's Blues. The film costarred Janet Leigh and singer Peggy Lee. Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride 'Em Cowboy), she was "delighted" when Norman Granz negotiated the role for her, and, "at the time....considered her role in the Warner Brothers movie the biggest thing ever to have happened to her."[3] Amid The New York Times' pan of the film when it opened in August 1955, the reviewer wrote, "About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue ... [or] take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice."[15] Fitzgerald's race precluded major big-screen success. After Pete Kelly's Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958), and Let No Man Write My Epitaph (1960). Much later, she appeared in the 1980s television drama The White Shadow.
She made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. Perhaps her most unusual and intriguing performance was of the 'Three Little Maids' song from Gilbert and Sullivan's comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore's weekly variety series in 1963. A performance at "Ronnie Scott's" jazz club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television program, Music, Music, Music. [16]
Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex. In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape. The tape was played back and the recording also broke the glass, asking "Is it live, or is it Memorex?" She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain's longtime slogan, "We do chicken right!"[17] Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.
Discography[link]
Further information: Ella Fitzgerald discography
Collaborations[link]
Fitzgerald's most famous collaborations were with the trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.
- Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956's Ella and Louis and 1957's Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.
- Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie's 1957 album One O'Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the 'New Testament' Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the 'Songbook' recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic '72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.
- Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald's career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass... Again (1976).
- Fitzgerald and Duke Ellington recorded two live albums, and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the 'Duke' meet on the Côte d'Azur for the 1966 album Ella and Duke at the Cote D'Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke's Place is also extremely well received.
Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.
Possibly Fitzgerald's greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967's A Man and His Music + Ella + Jobim, a show that also featured Antonio Carlos Jobim. Pianist Paul Smith has said, "Ella loved working with [Frank]. Sinatra gave her his dressing room on A Man and His Music and couldn't do enough for her." When asked, Norman Granz would cite "complex contractual reasons" for the fact that the two artists never recorded together.[3] Fitzgerald's appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesar's Palace, Las Vegas was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.
Awards, citations and honors[link]
Further information: List of awards received by Ella Fitzgerald
Fitzgerald won thirteen Grammy awards, including one for Lifetime Achievement in 1967.
Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named "Ella" in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.[18] Across town at the University of Southern California, she received the coveted[citation needed] USC "Magnum Opus" Award which hangs in the office of the Ella Fitzgerald Charitable Foundation.
Philanthropies[link]
Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the "Ella Fitzgerald Charitable Foundation", which continues to fund programs that perpetuate Ella's ideals. The Foundation's mission and goals, as well as many of the organizations that receive support, can be found at the official Ella Fitzgerald Foundation website Ella Fitzgerald Charitable Foundation. The Foundation also runs a Children's Book Program in memory of Miss Fitzgerald; called "A Book Just For Me!", it provides over 100,000 brand-new books each year to disadvantaged children.
Tributes and legacy[link]
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In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. The Ella Fitzgerald Music Festival is designed to teach the region's youth of the musical legacy of Fitzgerald and jazz. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, and Ann Hampton Callaway
Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway's album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater's album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald's second husband, double bassist Ray Brown. Bridgewater's following album, Live at Yoshi's, was recorded live on April 25, 1998, what would have been Fitzgerald's 81st birthday.
Austin's album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald. The album was nominated for a Grammy. In 2007, We All Love Ella, was released, a tribute album recorded for the 90th anniversary of Fitzgerald's birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the "First Lady of Song". Folk singer Odetta's album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album Lady be Good ... For Ella (1994).
Fitzgerald is also referred to on the 1987 song "Ella, elle l'a" by French singer France Gall and the Belgian singer Kate Ryan, the 1976 Stevie Wonder hit "Sir Duke" from his album Songs in the Key of Life, and the song "I Love Being Here With You", written by Peggy Lee and Bill Schluger. Sinatra's 1986 recording of "Mack the Knife" from his album L.A. Is My Lady (1984) includes a homage to some of the song's previous performers, including 'Lady Ella' herself. She is also honored in the song "First Lady" by Canadian artist Nikki Yanofsky.
In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 & 12, 2008) were Roberta Flack and Queen Esther Marrow.
USPS stamp and Yonkers statue[link]
There is a bronze sculpture of Fitzgerald in Yonkers,created by American artist Vinnie Bagwell, the city in which she grew up. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station. A bust of Fitzgerald is on the campus of Chapman College in Orange, California. On January 10, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own 39-cent postage stamp. The stamp was released in April 2007 as part of the Postal Service's Black Heritage series.[19]
Filmography[link]
| Year | Film | Role | Notes and awards |
|---|---|---|---|
| 1942 | Ride 'Em Cowboy | Ruby | |
| 1955 | Pete Kelly's Blues | Maggie Jackson | |
| 1958 | St. Louis Blues | Singer | |
| 1960 | Let No Man Write My Epitaph | Flora |
References[link]
- ^ Scott Yanow. "Ella Fitzgerald". allmusic.com. http://www.allmusic.com/artist/p6503. Retrieved 2007-03-16.
- ^ Vickie Smith, Jazz Vocalist. "Dedicated To Ella". VickieSmith.com. http://www.vickiesmith.com/ella.htm. Retrieved 2007-03-16.
- ^ a b c d e f g h Nicholson, Stuart (1993). Ella Fitzgerald: A Biography of the First Lady of Jazz. New York: C. Scribner's Sons. ISBN 0-575-40032-3.
For many years Fitzgerald's birthdate was thought to be on the same date one year later in 1918 — and is still listed as such in some sources, but research by Nicholson and another biographer, Tanya Lee Stone, established 1917 as the correct year of birth. - ^ "Ella Fitzgerald Biography - school, mother, son, information, born, house, marriage, time, year". Notablebiographies.com. http://www.notablebiographies.com/Fi-Gi/Fitzgerald-Ella.html. Retrieved 2012-05-13.
- ^ "Ella Fitzgerald: First Lady of Song - Katherine E. Krohn - Google Books". Books.google.com. http://books.google.com/books?id=pLBEVVf69K0C&pg=PA15&lpg=PA15&dq=Ella+Fitzgerald+Methodist&source=bl&ots=46AqJijkp5&sig=MFQ6rL_pFAczUDq8lgxGN5LL8p0&hl=en&sa=X&ei=mResT9DMNMnH6gHG9IG6BA&ved=0CFYQ6AEwBDgK#v=onepage&q=Ella%20Fitzgerald%20Methodist&f=false. Retrieved 2012-05-13.
- ^ a b c d e f g h Stephen Holden (1996-06-16). "Ella Fitzgerald, the Voice of Jazz, Dies at 79". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9A00E4DC1E39F935A25755C0A960958260. Retrieved 2008-04-06.
- ^ a b Bernstein, Nina. "Ward of the State;The Gap in Ella Fitzgerald's Life", The New York Times, June 23, 1996. Accessed June 29, 2010.
- ^ a b Frank Rich (1996-06-19). "Journal; How High the Moon". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9800E6D81439F93AA25755C0A960958260. Retrieved 2008-04-06.
- ^ Bernstein, Nina. "Ward of the State;The Gap in Ella Fitzgerald's Life", The New York Times, June 23, 1996. Accessed May 3, 2008. "Her most recent biographer, Stuart Nicholson, has surmised that the authorities caught up with her and placed her in the Colored Orphan Asylum in Riverdale."
- ^ a b c Jim Moret (1996-06-15). "‘First Lady of Song’ passes peacefully, surrounded by family". CNN. Archived from the original on 2006-11-29. http://web.archive.org/web/20061129231320/http://www.cnn.com/SHOWBIZ/9606/15/fitzgerald.obit/index.html. Retrieved 2007-01-30.
- ^ Benoit, Tod (2003-05-06). Where are they buried?: how did they die?. Black Dog Publishing. p. 423. ISBN 978-1-57912-287-4. http://books.google.com/books?id=rPekYw-SIkEC&pg=PA423. Retrieved 4 March 2011.
- ^ "Ella Fitzgerald: A Memorial" by Will Friedwald 1996.
- ^ a b Pleasants, H. (1974). The Great American Popular Singers. Simon and Schuster.
- ^ Hugh Davies (2005-12-31). "Sir Johnny up there with the Count and the Duke". London: Telegraph (UK). http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/12/31/nhonours931.xml. Retrieved 2007-03-16.
- ^ Dargis, Manohla (August 19, 1955). "Webb Plays the Blues". The New York Times. http://movies2.nytimes.com/mem/movies/review.html?res=9C00E2DB103AE73ABC4152DFBE66838E649EDE. Retrieved 2007-01-31.
- ^ http://www.youtube.com/watch?v=Jquc8iFj6sY
- ^ . http://www.retrojunk.com/details_commercial/20112.
- ^ "Calendar & Events: Spring Sing: Gershwin Award". UCLA. http://www.uclalumni.net/CalendarEvents/springsing/Gershwin/winners.cfm.
- ^ "New Stamp Honors First Lady of Song". WHSV News 3. January 9, 2007. http://www.whsv.com/news/headlines/5134776.html. Retrieved 2009-12-02.
- Gourse, Leslie (1998). The Ella Fitzgerald Companion. London: Omnibus Press. ISBN 0-7119-6916-7.
- Johnson, J. Wilfred (2001). Ella Fitzgerald: An Annotated Discography. McFarland. ISBN 0-7864-0906-1.
Further reading[link]
- Nicholson, Stuart. (1996) Ella Fitzgerald. Gollancz; ISBN 0-575-40032-3
- Gourse, Leslie. (1998) The Ella Fitzgerald Companion: Seven Decades of Commentary. Music Sales Ltd.; ISBN 0-02-864625-8
- Johnson, J. Wilfred. (2001) Ella Fitzgerald: A Complete Annotated Discography. McFarland & Co Inc.; ISBN 0-7864-0906-1
External links[link]
 |
Book: Ella Fitzgerald |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
|
Wikimedia Commons has media related to: Ella Fitzgerald |
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Wikiquote has a collection of quotations related to: Ella Fitzgerald |
- Ella Fitzgerald at the Internet Movie Database
- Ella Fitzgerald at the Internet Broadway Database
- Ella Fitzgerald at Find a Grave
- Ella Fitzgerald Complete Discography
- Ella Fitzgerald: Twelve Essential Performances by Stuart Nicholson (Jazz.com).
- Ella Fitzgerald at the Library of Congress
- Ella Fitzgerald, The Official Ed Sullivan Show Website
- Redsugar's Ella page
- 'Remembering Ella' by Phillip D. Atteberry
- Todd's Ella Fitzgerald Lyrics Page
- Ella Swings Gently, The Ella Fitzgerald Pages
- Ella Fitzgerald Tribute CD Video Footage
- New York Times article on Ella's early years
- Listen to Big Band Serenade podcast, episode 6 Includes complete NBC remote broadcast of "Ella Fitzgerald & her Orchestra" from the Roseland Ballroom (or download)
|
|||||||||||
| Persondata | |
|---|---|
| Name | Fitzgerald, Ella |
| Alternative names | Lady Ella, The First Lady of Song |
| Short description | American jazz singer |
| Date of birth | April 25, 1917 |
| Place of birth | Newport News, Virginia, U.S. |
| Date of death | June 15, 1996 |
| Place of death | Beverly Hills, California, U.S. |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Ella_Fitzgerald
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Not to be confused with the surname Kurzweil.
Kurt Julian Weill (March 2, 1900[1] – April 3, 1950[1]) was a German-Jewish composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist[2][unreliable source?] who held the ideal of writing music that served a socially useful purpose.[3] He also wrote a number of works for the concert hall, as well as several Judaism-themed pieces.
Contents |
Personal life[link]
Kurt Julian Weill was born on March 2, 1900,[4] the third of four children to Albert Weill (1867–1950) and Emma Weill née Ackermann (1872–1955). He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau, Germany, where his father was a cantor.[1] At the age of twelve, Kurt Weill started taking piano lessons and made his first attempts at writing music; his earliest preserved composition was written in 1913 and is titled Mi Addir. Jewish Wedding Song.[5]
In 1915, Weill started taking private lessons with Albert Bing, Kapellmeister at the "Herzogliches Hoftheater zu Dessau", who taught him piano, composition, music theory, and conducting. Weill performed publicly on piano for the first time in 1915, both as an accompanist and soloist. The following years he composed numerous Lieder to the lyrics of poets such as Joseph von Eichendorff, Arno Holz, and Anna Ritter, as well as a cycle of five songs titled Ofrahs Lieder to a German translation of a text by Yehuda Halevi.[6]
Weill graduated with an Abitur from the Oberrealschule of Dessau in 1918, and enrolled at the Berliner Hochschule für Musik at the age of 18, where he studied composition with Engelbert Humperdinck,[1] conducting with Rudolf Krasselt, and counterpoint with Friedrich E. Koch, and also attended philosophy lectures by Max Dessoir and Ernst Cassirer. The same year, he wrote his first string quartet (in B minor).[7]
Early work and compositions[link]
Weill's family experienced financial hardship in the aftermath of World War I, and in July 1919, Weill abandoned his studies and returned to Dessau, where he was employed as a répétiteur at the Friedrich-Theater under the direction of the new Kapellmeister, Hans Knappertsbusch. During this time, he composed an orchestral suite in E-flat major, a symphonic poem of Rainer Maria Rilke's The Lay of the Love and Death of Cornet Christopher Rilke as well as Schilflieder, a cycle of five songs to poems by Nikolaus Lenau. In December 1919, through the help of Humperdinck, Weill was appointed as Kapellmeister at the newly founded Stadttheater in Lüdenscheid, where he directed opera, operetta, and singspiel for five months, and also composed a cello sonata and Ninon de Lenclos, a now lost one-act operatic adaptation of a play by Ernst Hardt. From May to September 1920, Weill spent a couple of months in Leipzig, where his father had become the new director of a Jewish orphanage. Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, and orchestra.
Studies with Busoni[link]
Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. After examining some of Weill's compositions, Busoni accepted him as one of five master students in composition at the Preußische Akademie der Künste in Berlin.[8] From January 1921 to December 1923, Weill studied music composition with him and also counterpoint with Philipp Jarnach in Berlin. During his first year he composed his first symphony, Sinfonie in einem Satz, as well as the lieder Die Bekehrte (Goethe) and two Rilkelieder for voice and piano. In order to support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. In spring of 1922, Weill joined the November Group's music faction. That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. On November 18, 1922, his children's pantomime Die Zaubernacht (The Magic Night) premiered at the Theater am Kurfürstendamm; it was the first public performance of any of Weill's works in the field of musical theatre.[9]
Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Henry (then known as Heinz) Jolles,[10] and Nikos Skalkottas. Arrau, Abravenel, and Jolles, at least, would remain members of Weill's circle of friends thereafter,[11] and Jolles's sole surviving composition predating the rise of the Nazi regime in 1933 is a fragment of a work for four pianos he and Weill wrote jointly.[10] Weill's compositions during his last year of studies included Quodlibet, an orchestral suite version of Die Zaubernacht, Frauentanz, seven medieval poems for soprano, flute, viola, clarinet, French horn, and bassoon, and Recordare for choir and children's choir to words from the Book of Lamentations. Further premieres that year included a performance of his Divertimento for Orchestra by the Berlin Philharmonic under the direction of Heinz Unger on April 10, 1923, and the Hindemith-Amar Quartet's rendering of Weill's String Quartet, Op. 8, on June 24, 1923. In December 1923, Weill finished his studies with Busoni.[12]
Success in the 1920s and early-1930s[link]
In 1922 he joined the ‘Novembergruppe’, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe.[13] In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grünheide, Weill also first met the actress and future wife Lotte Lenya in summer 1924.[14] The couple got married twice: In 1926 and again in 1937 (following their divorce in 1933). Lenya took great care to support Weill's work, and after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation.
From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.[15]
Although he had some success with his first mature non-stage works (such as the String Quartet, Op. 8 or the Concerto for Violin and Wind Orchestra, Op. 12), which were influenced by Gustav Mahler, Arnold Schoenberg and Igor Stravinsky, Weill tended more and more to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. Weill's music was admired by composers such as Alban Berg, Alexander von Zemlinsky, Darius Milhaud and Stravinsky, but it was also criticised by others: by Schoenberg, who later revised his opinion, and by Anton Webern.
His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera written in collaboration with Bertolt Brecht. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). The stage success was filmed by Georg Wilhelm Pabst in two language versions: Die 3-Groschen-Oper and L'opéra de quat' sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit that Weill won and Brecht lost. Weill's working association with Brecht, although successful, came to an end over politics in 1930. Although Weill associated with socialism,[16] after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lenya, that he was unable to "set the communist party manifesto to music."[17]
Paris, London and New York[link]
Weill fled Nazi Germany in March 1933.[18] A prominent and popular Jewish composer, Weill was officially denounced for his socialist views and populist sympathies,[19] and became a target of the Nazi authorities, who criticized and interfered with performances of his later stage works, such as Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny, 1930), Die Bürgschaft (1932), and Der Silbersee (1933). With no option but to leave Germany, he went first to Paris, where he worked once more with Brecht (after a project with Jean Cocteau failed) on the ballet The Seven Deadly Sins.
On April 13, 1933 his musical The Threepenny Opera was given its premiere on Broadway, but closed after 13 performances to mixed reviews.[4] In 1934 he completed his Symphony No.2, his last purely orchestral work, conducted in Amsterdam and New York by Bruno Walter, and also the music for Jacques Deval's play, Marie Galante.[18]
A production of his operetta Der Kuhhandel (A Kingdom for a Cow) took him to London in 1935, and later that year he went to the United States in connection with The Eternal Road,[1] a "Biblical Drama" by Franz Werfel that had been commissioned by members of New York's Jewish community and was premiered in 1937 at the Manhattan Opera House, running for 153 performances.
Weill and his wife rented a house during the summer near Pine Brook Country Club in Nichols, Connecticut, the summer home of the Group Theatre, while working on Johnny Johnson (musical). Some of the other artists who summered there were; Elia Kazan, Harry Morgan, John Garfield, Lee J. Cobb, Will Geer, Clifford Odets, Howard Da Silva and Irwin Shaw [20][21][22]
He and his wife moved to New York City on September 10, 1935, living first at the St. Moritz Hotel before moving on to an apartment at 231 East 62nd Street between Third and Second Avenues.[4] Weill believed that most of his work had been destroyed.[citation needed] He seldom (and reluctantly) spoke or wrote German again, with rare exception[citation needed] (for example, letters to his parents who had escaped to Palestine[citation needed]).
Rather than continue to write in the same style that had characterized his European compositions, Weill made a study of American popular and stage music, and his American output, though held by some to be inferior, nonetheless contains individual songs and entire shows that not only became highly respected and admired, but have been seen as seminal works in the development of the American musical. Unique among Broadway composers of the time, Weill insisted on writing his own orchestrations (with some very few exceptions, such as the dance music in Street Scene).[23] He worked with writers such as Maxwell Anderson and Ira Gershwin, and wrote a film score for Fritz Lang (You and Me, 1938). Weill himself strove to find a new way of creating an American opera that would be both commercially and artistically successful. The most interesting attempt in this direction is Street Scene, based on a play by Elmer Rice, with lyrics by Langston Hughes. For his work on Street Scene Weill was awarded the inaugural Tony Award for Best Original Score.[24]
In the 1940s Weill lived in Downstate New York near the New Jersey border and made frequent trips both to New York City and to Hollywood for his work for theatre and film. Weill was active in political movements encouraging American entry into World War II, and after America joined the war in 1941, Weill enthusiastically collaborated in numerous artistic projects supporting the war effort both abroad and on the home front. He and Maxwell Anderson also joined the volunteer civil service by working as air raid wardens on High Tor Mountain between their homes in New City, New York and Haverstraw, New York in Rockland County. Weill became a naturalized citizen of the United States in 1943.[1]
Weill had ideals of writing music that served a socially useful purpose. In the US, he wrote Down in the Valley, an opera including the song of the same name and other American folk songs. He also wrote a number of songs in support of the American war effort, including the satirical "Schickelgruber" (with lyrics by Howard Dietz), "Buddy on the Nightshift" (with Oscar Hammerstein) and – with Brecht again as in his earlier career – the "Ballad of the Nazi Soldier's Wife" ("Und was bekam des Soldaten Weib?"). Intended for broadcast to Germany, the song chronicled the progress of the Nazi war machine through the gifts sent to the proud wife at home by her man at the front: furs from Oslo, a silk dress from Paris etc., until finally, from Russia, she receives her widow's veil.[3]
Apart from "Mack the Knife" and "Pirate Jenny" from The Threepenny Opera, his most famous songs include "Alabama Song" (from Mahagonny), "Surabaya Johnny" (from Happy End), "Speak Low" (from One Touch of Venus), "Lost in the Stars" (from the musical of that name), "My Ship" (from Lady in the Dark), and "September Song" (from Knickerbocker Holiday).
Death[link]
Weill suffered a heart attack shortly after his 50th birthday and died on April 3, 1950 in New York City.[18] He was buried in Mount Repose Cemetery in Haverstraw, New York. The text and music on his gravestone[25] come from the song "A Bird of Passage" from Lost in the Stars, itself adapted from a quotation from the Venerable Bede:[26]
-
- This is the life of men on earth:
- Out of darkness we come at birth
- Into a lamplit room, and then –
- Go forward into dark again.
-
-
- (lyric: Maxwell Anderson)
-
An excerpt from Maxwell Anderson's eulogy for Weill read:
"I wish, of course, that he had been lucky enough to have had a little more time for his work. I could wish the times in which he lived had been less troubled. But these things were as they were – and Kurt managed to make thousands of beautiful things during the short and troubled time he had…"[3]
Influence[link]
Sixty years after his death, Weill's music continues to be performed both in popular and classical contexts. In Weill's lifetime, his work was most associated with the voice of his wife, Lotte Lenya, but shortly after his death "Mack the Knife" was established by Louis Armstrong and Bobby Darin as a jazz standard. His music has since been recorded by many performers, ranging from Nina Simone, The Doors, Judy Collins, , John Zorn, Dagmar Krause and PJ Harvey to New York's Metropolitan Opera and the Vienna Radio Symphony Orchestra. Singers as varied as Teresa Stratas, Ute Lemper, Gisela May, Anne Sofie von Otter, Max Raabe, Dee Dee Bridgewater, and Marianne Faithfull have recorded entire albums of his music.
In 1985, Hal Willner produced Lost in the Stars: The Music of Kurt Weill, a tribute album in which Weill's songs were interpreted by a variety of artists, including Todd Rundgren, Tom Waits, Lou Reed and Sting.[27]
Amanda Palmer, singer/pianist of the 'Brechtian Punk Cabaret' duo The Dresden Dolls, has Kurt Weill's name on the front of her keyboard (a pun with the name of the instrument maker Kurzweil) as a tribute to the composer. In 1991, seminal Swiss Industrial music band The Young Gods released their album of Kurt Weill songs, The Young Gods Play Kurt Weill. In 2008, Weill's songs were performed by Canadian musicians (including Sarah Slean and Mary Margaret O'Hara) in a tribute concert as part of the first annual Canwest Cabaret Festival in Toronto. In 2009 Duke Special released an EP, entitled Huckleberry Finn, of five songs from an unfinished musical by Kurt Weill based on the novel by Mark Twain.
Compositions[link]
Stage works[link]
See List of works for the stage by Weill
Concert works[link]
Cantatas[link]
- 1920 : Sulamith, choral fantasy for soprano, female chorus and orchestra (lost)
- 1927 : Der neue Orpheus, cantata for soprano, solo violin and orchestra, op.16 (text: Yvan Goll)
- 1927 : Der Tod im Wald, cantata for bass and band (originally belonged to Das Berliner Requiem)
- 1928 : Das Berliner Requiem, cantata for tenor, baritone, male chorus (or three male voices) and wind orchestra (text: Bertolt Brecht)
- 1929 : Der Lindberghflug, cantata for tenor, baritone and bass soloists, chorus and orchestra (text: Bertolt Brecht, first version with music by Paul Hindemith and Weill, second version, also 1929, with music exclusively by Weill)
- 1940 : The Ballad of Magna Carta, cantata for tenor and bass soloists, chorus and orchestra (text: Maxwell Anderson)
Chamber music[link]
- 1918 : String Quartet in B minor (without opus number)
- 1923 : String Quartet op. 8
- 1919–1921 : Sonata for Cello and Piano
Piano music[link]
- 1917 : Intermezzo
- 1937 : Albumblatt for Erika (transcription of the pastorale from Der Weg der Verheissung)
Orchestral works[link]
- 1919 : Suite for orchestra
- 1919 : Die Weise von Liebe and Tod, symphonic poem for orchestra after Rainer Maria Rilke (lost)
- 1921 : Symphony No.1 in one movement for orchestra
- 1922 : Divertimento for orchestra, op.5 (unfinished, reconstructed by David Drew)
- 1922 : Sinfonia Sacra, Fantasia, Passacaglia and Hymnus for orchestra, op. 6 (unfinished)
- 1923 : Quodlibet, suite for orchestra from the pantomime Zaubernacht, op. 9
- 1925 : Concerto for violin and wind orchestra, op. 12
- 1927 : Bastille Musik, suite for wind orchestra (arranged by David Drew, 1975) from the stage music to Gustav III, by August Strindberg
- 1929 : Kleine Dreigroschenmusik, suite from Die Dreigroschenoper for wind orchestra, piano and percussion, (premiere conducted by Otto Klemperer)
- 1934 : Suite panaméenne for chamber orchestra, (from Marie Galante)
- 1934 : Symphony No. 2 in three movements for orchestra, (premiere by Royal Concertgebouw orchestra under Bruno Walter)
- 1939 " mother courage and her childen" with Bertolt Brecht
- 1947 : Hatikvah, arrangement of the Israeli National Anthem for orchestra
[edit] Lieder, Lieder cycles, songs and chansons
- 1919 : Die stille Stadt, for voice and piano, text: Richard Dehmel
- 1923 : Frauentanz op.10, Lieder cycle for soprano, flute, viola, clarinet, horn and bassoon (after medieval poems)
- 1923 : Stundenbuch, Lieder cycle for baritone and orchestra, text: Rainer Maria Rilke
- 1925 : Klopslied, for high voice, two piccolos and bassoon ('Ick sitze da un' esse Klops'/Berliner Lied)
- 1927 : Vom Tod im Wald (Death in the Forest), Op. 23, ballad for bass solo and ten wind instruments, text: Bertolt Brecht
- 1928 : Berlin im Licht-Song, slow-fox, text: Kurt Weill; composed for the exhibition Berlin im Licht, first performance in Wittenbergplatz (with orchestra) on October 13, and on October 16 in the Kroll Opera (with voice and piano)
- 1928 : Die Muschel von Margate: Petroleum Song, slow-fox, text: Felix Gasbarra for the play by Leo Lania, Konjunktur
- 1928 : Zu Potsdam unter den Eichen (In Potsdam under the Oak Trees), song for voice and piano, alternatively male chorus a cappella, text: Bertolt Brecht
- 1928 : Das Lied von den braunen Inseln, text: Lion Feuchtwanger, from the play by same author, Petroleum Inseln
- 1933 : Der Abschiedsbrief, text: Erich Kästner, intended for Marlene Dietrich
- 1933 : La complainte de Fantômas, text: Robert Desnos; for a broadcast of Fantômas in November 1933 (the music was lost, and later reconstructed by Jacques Loussier for Catherine Sauvage)
- 1933 : Es regnet, text: Jean Cocteau (direct into German)
- 1934 : Je ne t'aime pas, text: Maurice Magre for the soprano Lys Gauty
- 1934 : J'attends un navire, text: Jacques Deval, from Marie Galante ; as an independent song for Lys Gauty; used for the Hymne der Resistance during the Second World War
- 1934 : Youkali (originally the Tango habanera, instrumental movement in Marie Galante), Text: Roger Fernay
- 1934 : Complainte de la Seine, text: Maurice Magre
- 1939 : Stopping by Woods on a Snowy Evening, song for voice and piano, text: Robert Frost (unfinished)
- 1942 : Mine Eyes Have Seen the Glory, patriotic song arrangements for narrator, male chorus, and orchestra, of the Battle Hymn of the Republic (text: Julia Ward Howe), The Star-Spangled Banner (text: Francis Scott Key), America (text: Samuel Francis Smith) and Beat! Beat! Drums! (text: Walt Whitman)
- 1942–44 : Propaganda Songs, for voice and piano; written for the Lunch Hours Follies performed for the workers of a shipbuilding workshop in New York, then broadcast:
- 1942 : Buddy on the Nightshift, text: Oscar Hammerstein
- 1942 : Schickelgruber, text: Howard Dietz
- 1942 : Und was bekam des Soldaten Weib? (And what was sent to the soldier's wife?), ballad for voice and piano, text: Bertolt Brecht
- 1942–47 : Three Walt Whitman Songs, later Four Walt Whitman Songs for voice and piano (or orchestra), text: Walt Whitman
- 1944 : Wie lange noch?, text: Walter Mehring; premiere: Lotte Lenya
Film music[link]
- 1938 : You and Me
- 1945 : Where Do We Go From Here? text: Ira Gershwin
Select discography[link]
Orchestral, chamber, choral and other works[link]
- Berliner Requiem / Violin Concerto op.12 / Vom Tod im Walde. Ensemble Musique Oblique/ Philippe Herreweghe (Harmonia Mundi, 1997)
- Kleine Dreigroschenmusik / Mahagonny Songspiel / Happy End / Berliner Requiem / Violin Concerto op.12. /Ballade vom Tod im Walde op.23 /Pantomime I (from Der Protagonist op.14) London Sinfonietta, David Atherton, Nona Liddell (violin), Meriel Dickinson (mezzo-soprano), Mary Thomas (mezzo-soprano), Philip Langridge (tenor), Ian Partridge (tenor), Benjamin Luxon (baritone), Michael Rippon (bass), (Deutsche Grammophon 4594422, 1999)
- Kurt Weill à Paris, Marie Galante and other works. Loes Luca, Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai, 2000
- Melodie Kurta Weill'a i coś ponadto Kazik Staszewski (SP Records, 2001)
- Complete String Quartets. Leipziger Streichquartett (MDG 307 1071-2)
- Symphonies 1 & 2. BBC Symphony Orchestra, Gary Bertini (EMI, 1968)
Song collections[link]
- Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs (Sony 1997)
- Speak Low – Songs by Kurt Weill – Anne Sofie von Otter, conducted by John Eliot Gardiner (Deutsche Grammophon 1995)
- Youkali: Art Songs by Satie, Poulenc and Weill. Patricia O'Callaghan (Marquis, 2003)
- The Unknown Kurt Weill (Nonesuch LP D-79019, 1981) – Teresa Stratas, soprano, Richard Woitach, piano. Track list: "Nanna's Lied" (1939), "Complainte de la Seine" (1934), "Klops-Lied" (1925), "Berlin im Licht-song" (1928), "Und was Bekam des Soldaten Weib?" (1943), "Die Muschel von Margate: Petroleum Song" (1928), "Wie Lange Noch?" (1944), "Youkali: Tango Habanera" (1935?), "Der Abschiedsbrief" (1933?), "Es Regnet" (1933), "Buddy on the Nightshift" (1942), "Schickelgruber" (1942), "Je ne t'aime pas" (1934), "Das Lied von den Braunen Inseln" (1928)
Tributes[link]
- Lost in the Stars: The Music of Kurt Weill – Produced by Hal Wilner, with performances by Tom Waits, Lou Reed, Sting, Marianne Faithfull, Carla Bley, Charlie Haden, John Zorn and others. (A&M Records, 1987)
- September Songs: The Music of Kurt Weill – also produced by Wilner, with performances by Elvis Costello, PJ Harvey, Nick Cave, William S. Burroughs, and others) (Sony Music, 1997)
- Gianluigi Trovesi/Gianni Coscia: Round About Weill (ECM, 2005)
- The Young Gods Play Kurt Weill (Pias, April 1991), Studio recording of the songs performed live in 1989.
- Ben Bagley's Kurt Weill Revisited and Kurt Weill Revisited, Vol. 2, with performances by Chita Rivera, Ann Miller, Estelle Parsons, John Reardon, Tammy Grimes, Nell Carter, Arthur Siegel, and Jo Sullivan, among others. (Painted Smiles)
- An Evening of Kurt Weill, starring Bebe Neuwirth, Roger Rees, and Larry Marshall, was performed in NYC at Alice Tully Hall. Rees directed the production.
See also[link]
Bibliography[link]
- David Drew. Kurt Weill: A Handbook (Berkeley, Los Angeles, University of California Press, 1987). ISBN 0-520-05839-9.
- Kim H. Kowalke. A New Orpheus: Essays on Kurt Weill (New Haven, Yale University Press, 1986). ISBN 0-300-03514-4.
- Ronald Sanders. The Days Grow Short: The Life and Music of Kurt Weill (New York, Holt, Rinehart and Winston, 1980). ISBN 0-03-019411-3.
- Donald Spoto. Lenya A Life (Little, Brown and Company 1989)
- Lys Symonette & Kim H. Kowalke (ed. & trans.) Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya (University of California Press 1996)
- (German) David Drew (Editor), Über Kurt Weill (Frankfurt am Main, Suhrkamp, 1975) Excellent collection of texts, including an introduction by David Drew and including texts by Theodor W. Adorno
- (German) Jürgen Schebera, Kurt Weill (Rowohlt, Reinbek bei Hamburg, 2000)
References[link]
- ^ a b c d e f "Kurt Weill Dead; Composer, Was 50" (PDF, fee required). The New York Times (The New York Times Co.): p. 28. April 4, 1950. http://select.nytimes.com/gst/abstract.html?res=FA0D1EFD385F177A93C6A9178FD85F448585F9. Retrieved April 1, 2008.
- ^ Alan Bush Music Trust – More Than a Pleasant Way to Pass the Time?. Alanbushtrust.org.uk (April 23, 1964). Retrieved on August 22, 2011.
- ^ a b c Kurt Weill. Cjschuler.net. Retrieved on August 22, 2011.
- ^ a b c Jackson, Kenneth T. (1995). The Encyclopedia of New York City. New York City: The New York Historical Society; Yale University Press. p. 1252. ISBN 0-300-05536-6.
- ^ Stephen Hinton, Jürgen Schebera (editors). Musik und musikalisches Theater – Gesammelte Schriften, 2000: Schott Musik International, Mainz – ISBN 3-7957-0423-5, p 540
- ^ Hinton & Schebera, pp 540–541
- ^ Hinton & Schebera, pp 541
- ^ Hinton & Schebera, pp 541–542
- ^ Hinton & Schebera, p 542
- ^ a b Musica Reanimata of Berlin, Henry Jolles accessed September 28, 2008
- ^ Lenya, Lotte; George Davis (Spring 1997). "Weill and His Collaborators" (PDF). Kurt Weill Newsletter (Kurt Weill Foundation for Music) 15 (1): 4–9. ISSN 0899-6407. http://www.kwf.org/kwf/images/newsletter/kwn151p1-24.pdf. Retrieved October 24, 2010.
- ^ Hinton & Schebera, pp 542–543
- ^ Music and the Holocaust: Weill, Kurt. Holocaustmusic.ort.org. Retrieved on August 22, 2011.
- ^ Hinton & Schebera, p 543
- ^ Hinton & Schebera, pp 208–209
- ^ Kurt Weill. Spartacus.schoolnet.co.uk (April 3, 1950). Retrieved on August 22, 2011.
- ^ http://www.ata-divisions.org/LD/newsletter/2009/2009Source_july3.pdf
- ^ a b c Mercado, Mario R. Kurt Weill: A Guide To His Works, The Kurt Weill Foundation for Music, 1989.
- ^ influences[dead link]
- ^ Pinewood Lake website retrieved on September 10, 2010. Pinewoodlake.org (May 20, 2009). Retrieved on August 22, 2011.
- ^ Images of America, Trumbull Historical Society, 1997, p. 123
- ^ Real Life Drama: The Group Theatre and America, 1931–1940, p. 264
- ^ "The Boys That Make the Noise", Music section, Time (magazine), July 5, 1943.
- ^ Tony Award for Best Original Score. Broadwayworld.com. Retrieved on August 22, 2011.
- ^ Kurt Weill at Find a Grave
- ^ Historia Ecclesiastica Gentis Anglorum (History of the English Church and People) Book 2, Ch. 13
- ^ Viglione, Joe (February 9, 2010). "Lost in the Stars". allmusic.com. http://www.allmusic.com/album/lost-in-the-stars-the-music-of-kurt-weill-r23905/review. Retrieved May 2, 2012.
External links[link]
- Kurt Weill Foundation, including a detailed list of works
- Schott Music
- The OREL Foundation- Kurt Weill's biography and links to bibliography, discography and media.
- Kurt Weill at the Internet Broadway Database
- Kurt Weill at the Internet Movie Database
- Program note to Kurt Weill's Symphony No. 2 from the Los Angeles Chamber Orchestra
- Yale University's Gilmore Music Library has an important collection of Kurt Weill's Papers and Music, especially from his years in America
- Finding aid to Universal Edition-Kurt Weill Archives – Manuscripts on deposit at the Ruth T. Watanabe Special Collections Department, Sibley Music Library, Eastman School of Music, University of Rochester
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| Persondata | |
|---|---|
| Name | Weill, Kurt |
| Alternative names | Weill, Kurt Julian |
| Short description | German American composer |
| Date of birth | March 2, 1900 |
| Place of birth | |
| Date of death | April 3, 1950 |
| Place of death | New York City |
http://wn.com/Kurt_Weill
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Kurt_Weill
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
- For people named Jean Kelly, see Jean Kelly (disambiguation).
| Gene Kelly | |
|---|---|
 Gene Kelly in 1943 |
|
| Born | Eugene Curran Kelly (1912-08-23)August 23, 1912 Pittsburgh, Pennsylvania |
| Died | February 2, 1996(1996-02-02) (aged 83) Beverly Hills, California |
| Occupation | Actor, dancer, singer, director, producer, choreographer |
| Years active | 1938–1994 |
| Spouse | Betsy Blair (m.1941-1957; divorced) Jeanne Coyne (m.1960-1973; her death) Patricia Ward (m.1990-1996; his death) |
Eugene Curran "Gene" Kelly (August 23, 1912 - February 2, 1996) was an American dancer, actor, singer, film director and producer, and choreographer. Kelly was known for his energetic and athletic dancing style, his good looks and the likeable characters that he played on screen.
Although he is known today for his performances in Singin' in the Rain and An American in Paris, he was a dominant force in Hollywood musical films from the mid 1940s until this art form fell out of fashion in the late 1950s. His many innovations transformed the Hollywood musical film, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.[1]
Kelly was the recipient of an Academy Honorary Award in 1952 for his career achievements. He later received lifetime achievement awards in the Kennedy Center Honors, and from the Screen Actors Guild and American Film Institute; in 1999, the American Film Institute also numbered him 15th in their Greatest Male Stars of All Time list.
Contents |
Early life[link]
Kelly was born in the Highland Park neighborhood of Pittsburgh. He was the third son of Harriet Catherine (née Curran) and James Patrick Joseph Kelly, a phonograph salesman.[2] His father was born in Peterborough, Canada, to a family of Irish descent. His maternal grandfather was an immigrant from Derry in northern Ireland and his maternal grandmother was of German ancestry.[3] At the age of eight, Kelly was enrolled by his mother in dance classes, along with his elder brother James. They both rebelled, and, according to Kelly: "We didn't like it much and were continually involved in fistfights with the neighborhood boys who called us sissies...I didn't dance again until I was fifteen." He thought it would be a good way to get girls.[4] Kelly returned to dance on his own initiative and by then was an accomplished sportsman and well able to take care of himself. He attended St. Raphael Elementary School [5] in the Morningside neighborhood of Pittsburgh, PA. He graduated from Peabody High School in 1929 at the age of sixteen. He enrolled in Pennsylvania State College to study journalism but the economic crash obliged him to seek employment to help with the family's finances. At this time, he worked up dance routines with his younger brother Fred in order to earn prize money in local talent contests, and they also performed in local nightclubs.[4]
In 1931, Kelly enrolled at the University of Pittsburgh to study economics where he joined the Phi Kappa Theta fraternity.[6] While at Pitt, Kelly became involved in the university's Cap and Gown Club, which staged original, comedic musical productions.[7] Earning a Bachelor of Arts in Economics with his graduation from Pitt in 1933, he remained active with the Cap and Gown Club, serving as its director from 1934 to 1938, while at the same time enrolling in the University of Pittsburgh Law School.[8] Also during this period, Kelly's family started a dance studio on Munhall Road in the Squirrel Hill neighborhood of Pittsburgh. In 1932, the dance studio was renamed The Gene Kelly Studio of the Dance. A second location was opened in Johnstown, Pennsylvania in 1933. Kelly served as a teacher at the studio during both his undergraduate and law student years at Pitt. In 1931, he was approached by the Rodef Shalom synagogue in Pittsburgh to teach dance, and to stage the annual Kermess. This venture was successful enough that his services were retained for seven years until his departure for New York.[9] Eventually, though, he decided to pursue his career as a dance teacher and full-time entertainer, so Kelly dropped out of law school after two months. He began to increasingly focus on performing and later claimed: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached sixteen the dropout rate was very high."[4] In 1937, having successfully managed and developed the family's dance school business, he finally did move to New York City in search of work as a choreographer.[4]
Stage career[link]
After a fruitless search, Kelly returned to Pittsburgh, to his first position as a choreographer with the Charles Gaynor musical revue Hold Your Hats at the Pittsburgh Playhouse in April, 1938. Kelly appeared in six of the sketches, one of which, "La Cumparsita", became the basis of an extended Spanish number in Anchors Aweigh" eight years later.
His first Broadway assignment, in November 1938, was as a dancer in Cole Porter's Leave It to Me! as the American ambassador's secretary who supports Mary Martin while she sings "My Heart Belongs to Daddy". He had been hired by Robert Alton who had staged a show at the Pittsburgh Playhouse and been impressed by Kelly's teaching skills. When Alton moved on to choreograph One for the Money he hired Kelly to act, sing and dance in a total of eight routines. In 1939, he was selected to be part of a musical revue "One for the Money" produced by the actress Katharine Cornell, who was known for finding and hiring talented young actors.
Kelly's first career breakthrough was in the Pulitzer Prize-winning The Time of Your Life, which opened on October 25, 1939, where for the first time on Broadway he danced to his own choreography. In the same year he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe. His future wife, Betsy Blair, was a member of the cast. They began dating and married on October 16, 1941.
In 1940, he was given the leading role in Rodgers and Hart's Pal Joey, again choreographed by Robert Alton, and this role propelled him to stardom. During its run he told reporters: "I don't believe in conformity to any school of dancing. I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use. I never let technique get in the way of mood or continuity."[4] It was at this time also, that his phenomenal commitment to rehearsal and hard work was noticed by his colleagues. Van Johnson who also appeared in Pal Joey recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement. Yet he wasn't satisfied. It was midnight and we had been rehearsing since eight in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage...I could see just a single lamp burning. Under it, a figure was dancing...Gene."[4]
Offers from Hollywood began to arrive but Kelly was in no particular hurry to leave New York. Eventually, he signed with David O. Selznick, agreeing to go to Hollywood at the end of his commitment to Pal Joey, in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.
Film career[link]
1941–1944: Becoming established in Hollywood[link]
File:1kelly1.gif
Gene Kelly dancing with Jerry in Anchors Aweigh (1945)
Selznick sold half of Kelly's contract to MGM and loaned him out to MGM for his first motion picture: For Me and My Gal (1942) with Judy Garland. Kelly was "appalled at the sight of myself blown up twenty times. I had an awful feeling that I was a tremendous flop" but the picture did well and, in the face of much internal resistance, Arthur Freed of MGM picked up the other half of Kelly's contract.[4] After appearing in the B-movie drama Pilot #5 he took the male lead in Cole Porter's Du Barry Was a Lady opposite Lucille Ball. His first opportunity to dance to his own choreography came in his next picture Thousands Cheer, where he performed a mock-love dance with a mop.
He achieved his breakthrough as a dancer on film when MGM loaned him out to Columbia to work with Rita Hayworth in Cover Girl (1944), where he created a memorable routine dancing to his own reflection. In his next film Anchors Aweigh (1945), MGM virtually gave him a free hand to devise a range of dance routines, including the celebrated and much imitated animated dances with Jerry Mouse, and his duets with co-star Frank Sinatra.[10] Anchors Aweigh became one of the most successful films of 1945 and it garnered Kelly his first and only Academy Award nomination for Best Actor. In Ziegfeld Follies (1946) – which was produced in 1944 but not released until 1946 – Kelly collaborated with Fred Astaire – for whom he had the greatest admiration – in the famous "The Babbitt and the Bromide" challenge dance routine.
At the end of 1944, Kelly enlisted in the U.S. Naval Air Service and was commissioned as lieutenant junior grade. He was stationed in the Photographic Section, Washington D.C., where he was involved in writing and directing a range of documentaries, and this stimulated his interest in the production side of film-making.[6][11]
1946–1952: MGM[link]
On his return to Hollywood in the spring of 1946, MGM had nothing lined up and used him in yet another B-movie: Living in a Big Way. The film was considered so weak that Kelly was asked to design and insert a series of dance routines, and his ability to carry off such assignments was noticed. This led to his next picture with Judy Garland and director Vincente Minnelli, the film version of Cole Porter's The Pirate, in which Kelly plays the eponymous swashbuckler. Now regarded as a classic, the film was ahead of its time and was not well received. The Pirate gave full rein to Kelly's athleticism and is probably best remembered for Kelly's work with The Nicholas Brothers – the leading African-American dancers of their day – in a virtuoso dance routine.
Although MGM wanted Kelly to return to safer and more commercial vehicles, he ceaselessly fought for an opportunity to direct his own musical film. In the interim, he capitalised on his swashbuckling image as d'Artagnan in The Three Musketeers. and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music (1948). He was due to play the male lead opposite Garland in Easter Parade (1948), but broke his ankle playing volleyball. He withdrew from the film and encouraged Fred Astaire to come out of retirement to replace him.[12] There followed Take Me Out to the Ball Game (1949), his second film with Sinatra, where Kelly paid tribute to his Irish heritage in The Hat My Father Wore on St. Patrick's Day routine. It was this musical film which persuaded Arthur Freed to allow Kelly to make On the Town, where he partnered with Frank Sinatra for the third and final time, creating a breakthrough in the musical film genre which has been described as "the most inventive and effervescent musical thus far produced in Hollywood."[4]
Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. According to Kelly: "...when you are involved in doing choreography for film you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing..without such people as Stanley, Carol Haney and Jeanne Coyne I could never have done these things. When we came to do On the Town, I knew it was time for Stanley to get screen credit because we weren't boss-assistant anymore but co-creators."[4][13] Together, they opened up the musical form, taking the film musical out of the studio and into real locations, with Donen taking responsibility for the staging and Kelly handling the choreography. Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett and Miller.[6]
It was now Kelly's turn to ask the studio for a straight acting role and he took the lead role in the early mafia melodrama: The Black Hand (1949). This expose of organized crime is set in New York's "Little Italy" the late 19th century, and focuses on the Black Hand, a group which extorts money upon threat of death. In the real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Even in 1950, however, Hollywood had to tread gingerly whenever dealing with big-time crime; it was easier (and safer) to go after a "dead" criminal organization than a "live" one.
There followed Summer Stock (1950) – Judy Garland's last musical film for MGM – in which Kelly performed the celebrated "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his book "Easy the Hard Way", Joe Pasternak, head of one of the other musical units within MGM, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.[4]
There followed in quick succession two musicals which have secured Kelly's reputation as a major figure in the American musical film, An American in Paris (1951) and – probably the most popular and admired of all film musicals – Singin' in the Rain (1952). As co-director, lead star and choreographer, Kelly was the central driving force. Johnny Green, head of music at MGM at the time, described him as follows:
"Gene is easygoing as long as you know exactly what you are doing when you're working with him. He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work, too. He isn't cruel but he is tough, and if Gene believed in something he didn't care who he was talking to, whether it was Louis B. Mayer or the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted".[4]
An American in Paris won six Academy Awards, including Best Picture and, in the same year, Kelly was presented with an honorary Academy Award for his contribution to film musicals and the art of choreography. The film also marked the debut of Leslie Caron, whom Kelly had spotted in Paris and brought to Hollywood. Its dream ballet sequence, lasting an unprecedented seventeen minutes, was the most expensive production number ever filmed up to that point and was described by Bosley Crowther as, "whoop-de-doo ... one of the finest ever put on the screen."[6] Singin' in the Rain featured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale with Cyd Charisse, and while it did not initially generate the same enthusiasm as An American in Paris, it subsequently overtook the earlier film to occupy its current pre-eminent place among critics and filmgoers alike.[14]
1953–57: The Decline of the Hollywood Musical[link]
Kelly, at the very peak of his creative powers, now made what in retrospect is seen as a serious mistake.[6] In December 1951 he signed a contract with MGM which sent him to Europe for nineteen months so that Kelly could use MGM funds frozen in Europe to make three pictures while personally benefiting from tax exemptions. Only one of these pictures was a musical, Invitation to the Dance, a pet project of Kelly's to bring modern ballet to mainstream film audiences. It was beset with delays and technical problems, and flopped when finally released in 1956. When Kelly returned to Hollywood in 1953, the film musical was already beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing the film to be made on studio backlots instead of on location in Scotland. This year also saw him appear as guest star with his brother Fred in the celebrated "I Love to Go Swimmin' with Wimmen" routine in Deep in My Heart. MGM's refusal to loan him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio. He negotiated an exit to his contract which involved making three further pictures for MGM.
The first of these, It's Always Fair Weather (1956) co-directed with Donen, was a musical satire on television and advertising, and includes his famous roller skate dance routine to "I Like Myself", and a dance trio with Michael Kidd and Dan Dailey which allowed Kelly to experiment with the widescreen possibilities of Cinemascope. A modest success, it was followed by Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall and Taina Elg, fittingly ending, as he had begun, with a Cole Porter musical. The third picture he completed was a co-production between MGM and himself, the B-movie The Happy Road, set in his beloved France, his first foray in his new role as producer-director-actor.
1958–1996: Years of perseverance[link]
Leaving MGM in 1957, Kelly returned to stage work. When in 1958 he directed Rodgers and Hammerstein's musical play Flower Drum Song.[15] Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of the Paris Opéra and Opéra-Comique,[4] to select his own material and create a modern ballet for the company, the first time an American had received such an assignment. The result was Pas de Dieux, based on Greek mythology, combined with the music of George Gershwin's Concerto in F. It was a major success, and led to his being honoured with the Chevalier of the Legion d'Honneur by the French Government.
_Gene_Kelly.jpg)
Kelly continued to make some film appearances, such as Hornbeck in the 1960 Hollywood production of Inherit the Wind. However, most of his efforts were now concentrated on film production and directing. In 1962, he directed Jackie Gleason in Gigot in Paris, but the film was drastically re-cut by Seven Arts Productions and flopped.[6] Another French effort, Jacques Demy's homage to the MGM musical: Les Demoiselles de Rochefort (1967) in which Kelly appeared, was popular in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation) but performed poorly, elsewhere. He appeared as himself in George Cukor's Let's Make Love (1960).
His first foray into television was a documentary for NBC's Omnibus, Dancing is a Man's Game (1958) where he assembled a group of America's greatest sportsmen – including Mickey Mantle, Sugar Ray Robinson and Bob Cousy – and re-interpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style.[6] It gained an Emmy nomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.
Kelly also frequently appeared on television shows during the 1960s, but his one effort at television series, as Father Chuck O'Malley in Going My Way (1962–63), based on the Best Picture of 1944 starring Bing Crosby, was dropped after thirty episodes, although it enjoyed great popularity in Roman Catholic countries outside of the United States.[6] He also appeared in three major TV specials: New York, New York (1966), The Julie Andrews' Show (1965), and Jack and the Beanstalk (1967) a show he produced and directed which returned to a combination of cartoon animation with live dance, winning him an Emmy Award for Outstanding Children's Program.
In 1963, Kelly joined Universal Pictures for a two-year stint, which proved to be the most unproductive period of his career at that point. He joined 20th Century Fox in 1965, but had little to do – partly due to his decision to decline assignments away from Los Angeles for family reasons. His perseverance finally paid off, with the major box-office hit A Guide for the Married Man (1967) where he directed Walter Matthau. Then, a major opportunity arose when Fox – buoyed by the returns from The Sound of Music (1965) – commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand, but which unfortunately failed to recoup the enormous production expenses.
In 1970, he made another TV special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas, Nevada, which he duly did for an eight-week stint – on condition he be paid more than any artist had hitherto been paid there.[6] He directed veteran actors James Stewart and Henry Fonda in the comedy western The Cheyenne Social Club (1970) which performed very well at the box-office. In 1973, he would work again with Frank Sinatra as part of Sinatra's Emmy nominated TV special Ol' Blue Eyes Is Back. Then, in 1974, he appeared as one of many special narrators in the surprise hit of the year That's Entertainment! and subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire – who had insisted that his contract rule out any dancing, having long since retired – into performing a series of song and dance duets, evoking a powerful nostalgia for the glory days of the American musical film. Kelly continued to make frequent TV appearances and, in 1980, appeared in an acting and dancing role opposite Olivia Newton-John in Xanadu (1980), an expensive theatrical flop which has since attained a cult following.[6] In Kelly's opinion, "The concept was marvelous but it just didn't come off."[4] In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea.[6] In 1985, Kelly served as executive producer and co-host of That's Dancing! – a celebration of the history of dance in the American musical. After his final on-screen appearance, introducing That's Entertainment! III, in 1994, his final film project was the animated movie Cats Don't Dance, released in 1997 and dedicated to him, on which Kelly acted as uncredited choreographic consultant.
Working methods and influence on filmed dance[link]
When he began his collaborative film work, he was influenced by Robert Alton and John Murray Anderson, striving to create moods and character insight with his dances. He choreographed his own movement, along with that of the ensemble, with the assistance of Jeanne Coyne, Stanley Donen, Carol Haney, and Alex Romero.[1] He experimented with lighting, camera techniques and special effects in order to achieve true integration of dance with film, and was one of the first to use split screens, double images, live action with animation and is credited as the person who made the ballet form commercially acceptable to film audiences.[1]
There was a clear progression in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms.[16] Kelly himself refused to categorize his style: "I don't have a name for my style of dancing...It's certainly hybrid...I've borrowed from the modern dance, from the classical, and certainly from the American folk dance – tap-dancing, jitterbugging...But I have tried to develop a style which is indigenous to the environment in which I was reared."[16] He especially acknowledged the influence of George M. Cohan: "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness – which is a good quality for a male dancer to have."[4] He was also heavily influenced by an African-American dancer Dancing Dotson, whom he saw at Loew's Penn. Theatre around 1929, and was briefly taught by Frank Harrington, an African-American tap specialist from New York.[17] However, his main interest was in ballet, which he studied under Kotchetovsky in the early Thirties. As biographer Clive Hirschhorn explains: "As a child he used to run for miles through parks and streets and woods – anywhere, just as long as he could feel the wind against his body and through his hair. Ballet gave him the same feeling of exhilaration, and in 1933 he was convinced it was the most satisfying form of self-expression."[6] He also studied Spanish dancing under Angel Cansino, Rita Hayworth's uncle.[6] Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance – as in the title song from Singin' in the Rain or "I Got Rhythm" from An American in Paris, whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.[16]
File:Kelly in rehearsal.jpg
Kelly in rehearsal with Sugar Ray Robinson and assistant Jeanne Coyne in the NBC Omnibus television special Dancing is a Man's Game (1958)
According to Delamater, Kelly's work "seems to represent the fulfillment of dance-film integration in the 1940s and 1950s". While Fred Astaire had revolutionized the filming of dance in the 1930s by insisting on full-figure photography of dancers while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing. Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move. Examples of this abound in Kelly's work and are well illustrated in the "Prehistoric Man" sequence from On the Town and "The Hat My Father Wore on St. Patrick's Day" from Take Me Out to the Ball Game.[16] In 1951, he summed up his vision as follows: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye".[1]
Kelly's athleticism gave his moves a distinctive broad, muscular quality,[16] and this was a very deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete...I think dancing is a man's game and if he does it well he does it better than a woman."[4] He railed against what he saw as the widespread effeminacy in male dancing which, in his opinion, "tragically" stigmatized the genre, alienating boys from entering the field: "Dancing does attract effeminate young men. I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately he dances badly — just as if a woman comes out on stage and starts to sing bass. Unfortunately people confuse gracefulness with softness. John Wayne is a graceful man and so are some of the great ball players...but, of course, they don't run the risk of being called sissies."[4] In his view, "one of our problems is that so much dancing is taught by women. You can spot many male dancers who have this tuition by their arm movements — they are soft, limp and feminine."[4] He acknowledged that, in spite of his efforts — in TV programs such as Dancing: A Man's Game (1958) for example — the situation changed little over the years.[4]
He also sought to break from the class-conscious conventions of the 1930s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public. As his first wife, actress and dancer Betsy Blair explained: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they too could express love and joy by dancing in the street or stomping through puddles...he democratized the dance in movies."[18] In particular, he wanted to create a completely different image from that associated with Fred Astaire, not least because he believed his physique didn't suit such refined elegance: "I used to envy his cool aristocratic style, so intimate and contained. Fred wears top hat and tails to the manor born — I put them on and look like a truck driver."[4]
Personal life and death[link]
Kelly was married to Betsy Blair for 15 years (1941–1957) and they had one child, Kerry. Kelly divorced Blair in 1957. In 1960, Kelly married his choreographic assistant Jeanne Coyne, who had divorced Stanley Donen in 1949 after a brief marriage. He remained married to Coyne from 1960 until her death in 1973 and they had two children, Bridget and Tim. He was married to Patricia Ward from 1990 until his death in 1996.
Kelly was a lifelong supporter of the Democratic Party with strong progressive convictions,[19] which occasionally created difficulty for him as his period of greatest prominence coincided with the McCarthy era in the U.S. In 1947, he was part of the Committee for the First Amendment, the Hollywood delegation which flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities. His first wife, Betsy Blair, was suspected of being a Communist sympathizer and when MGM, who had offered Blair a part in Marty (1955), were considering withdrawing her under pressure from the American Legion, Kelly successfully threatened MGM with a pullout from It's Always Fair Weather unless his wife was restored to the part.[6][20] He used his position on the board of directors of the Writers Guild of America, West on a number of occasions to mediate disputes between unions and the Hollywood studios, and although he was frequently accused by some on the right of championing the unions, he was valued by the studios as an effective mediator.[citation needed]
Kelly was raised as a Roman Catholic, but after becoming disenfchanted by the Roman Catholic Church's support for Francisco Franco against the Spanish Republic,[21]he officially severed his ties with the church in September 1939. This separation was prompted, in part, by a trip Kelly made to Mexico in which he became convinced of the Church’s failure in helping the poor.[21] After his departure from the Catholic Church, Kelly became an agnostic and remained so, for the rest of his life.[22] He retained a lifelong passion for sports and relished competition. He was known as a big fan of the Pittsburgh Steelers and New York Yankees. From the mid-40s through the early 50s, he and Blair organized weekly parties at their Beverly Hills home, and they often played an intensely competitive and physical version of charades, known as "The Game".[20]
Kelly's health declined steadily in the late 80s, for a stroke in July 1994 resulted in a seven week hospital stay. Another one in early 1995 left him mostly bedridden at his Beverly Hills, California home, and Kelly died in his sleep on February 2, 1996 before his body was cremated. His last will is without any funeral or memorial services.[23] Kelly's papers are currently housed at the Howard Gotlieb Archival Research Center at Boston University.
Awards and honors[link]
- 1946 – Academy Award nomination for Best Actor in Anchors Aweigh (1945).
- 1952 – Honorary Academy Award "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." This Oscar was lost in a fire in 1983 and replaced at the 1984 Academy Awards.
- 1956 – Golden Bear at the 6th Berlin International Film Festival for Invitation to the Dance.[24]
- 1958 – Nomination for Golden Laurel Award for Best Male Musical Performance in Les Girls.
- 1958 – Dance Magazine's annual TV Award for Dancing: A Man's Game from the Omnibus television series. It was also nominated for an Emmy for best choreography.
- 1960 – In France, Kelly was made a Chevalier of the Legion of Honor.
- 1962 – Gene Kelly Dance Film Festival staged by the Museum of Modern Art.
- 1964 – Silver Sail Best Actor for What a Way to Go! (1964) at the Locarno International Film Festival.
- 1967 – Emmy for Outstanding Children's Program for Jack and the Beanstalk.
- 1970 – Nomination for Golden Globe, Best Director for Hello, Dolly!, 1969.
- 1981 – Cecil B. DeMille Award at Golden Globes.
- 1981 – Gene Kelly was the subject of a two-week film festival in France.
- 1982 – Lifetime Achievement Award in the fifth annual Kennedy Center Honors.
- 1985 – Lifetime Achievement Award from the American Film Institute.
- 1989 – Life Achievement Award from Screen Actors Guild.
- 1991 – University of Pittsburgh inaugurates The Gene Kelly Awards, given annually to high school musicals in Allegheny County, Pennsylvania.
- 1992 – Induction into the Theater Hall of Fame.
- 1994 – National Medal of Arts awarded by United States President Bill Clinton.[25]
- 1994 – The Three Tenors performed Singin' in the Rain in his presence during a concert at Dodger Stadium in Los Angeles.
- 1996 – Honorary César Award The César is the main national film award in France.
- 1996 – At the Academy Awards ceremony, director Quincy Jones organised a tribute to the just-deceased Kelly, in which Savion Glover performed the dance to "Singin' in the Rain".
- 1997 – Ranked #26 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list.
- 1999 – Ranked #15 in the American Film Institute's "Greatest Legends" list.
Work[link]
Filmography[link]
Main article: Gene Kelly filmography
Musical films[link]
Gene Kelly appeared as actor and dancer in the following musical films. He always choreographed his own dance routines, and often the dance routines of others, and often used assistants. As was the practice at the time, he was rarely formally credited in the film titles:[1]
| Year | Film | Role | Notes |
|---|---|---|---|
| 1942 | For Me and My Gal | Harry Palmer | |
| 1943 | Du Barry Was a Lady | Alec Howe/Black Arrow | |
| Thousands Cheer | Private Eddie Marsh | ||
| 1944 | Cover Girl | Danny McGuire | |
| 1945 | Anchors Aweigh | Joseph Brady | Nominated — Academy Award for Best Actor |
| Ziegfeld Follies | Gentleman in 'The Babbit and the Bromide' | ||
| 1947 | Living in a Big Way | Leo Gogarty | |
| 1948 | The Pirate | Serafin | |
| The Three Musketeers | D'Artagnan | ||
| Words and Music | Himself | ||
| 1949 | Take Me Out to the Ball Game | Eddie O'Brien | |
| On the Town | Gabey | ||
| 1950 | Summer Stock | Joe D. Ross | |
| 1951 | An American in Paris | Jerry Mulligan | Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |
| 1952 | Singin' in the Rain | Don Lockwood | |
| 1954 | Brigadoon | Tommy Albright | |
| Deep in My Heart | Specialty in 'Dancing Around' | ||
| 1955 | It's Always Fair Weather | Ted Riley | |
| 1956 | Invitation to the Dance | Host/Pierrot/The Marine/Sinbad | |
| 1957 | Les Girls | Barry Nichols | |
| 1958 | Marjorie Morningstar | Noel Airman | |
| 1960 | Inherit the Wind | E.K. Hornbeck | |
| 1960 | Let's Make Love | Himself | |
| 1964 | What a Way to Go! | Pinky Benson | |
| 1966 | Les Demoiselles de Rochefort | Andy Miller | |
| 1974 | That's Entertainment! | Himself | (also archive footage) |
| 1976 | That's Entertainment, Part II | Himself | (also archive footage) |
| 1980 | Xanadu | Danny McGuire | |
| 1994 | That's Entertainment, Part III | Himself | (also archive footage) |
Stage[link]
| Dates | Title | Role | Notes |
|---|---|---|---|
| November 9, 1938 – July 15, 1939 | Leave It to Me! | Secretary to Mr. Goodhue | Was also a chorus boy in this production, backing Mary Martin in her famous number "My Heart Belongs To Daddy" |
| February 4, 1939 – May 27, 1939 | One for the Money | various roles | |
| October 25, 1939 – April 6, 1940 | The Time of Your Life | Harry | |
| September 23, 1940 – October 19, 1940 | The Time of Your Life | Harry | |
| December 25, 1940 – November 29, 1941 | Pal Joey | Joey Evans | |
| October 1, 1941 – July 4, 1942 | Best Foot Forward | Choreography | |
| December 1, 1958 – May 7, 1960 | Flower Drum Song | Director | |
| February 22, 1979 – April 1, 1979 | Coquelico | Producer | |
| July 2, 1985 – May 18, 1986 | Singin' in the Rain | Original film choreography Nominated — Drama Desk Award for Outstanding Choreography |
Television[link]
| Year | Title | Role | Notes |
|---|---|---|---|
| 1948 | The Three Musketeers | D'Artagnan | |
| 1958 | Dancing: A Man's Game | Himself | Omnibus |
| 1962–1963 | Going My Way | Father Chuck O'Malley | (30 episodes) |
| 1965 | Gene Kelly: New York, New York | Himself | |
| The Julie Andrews Show | Himself | ||
| 1967 | Jack and the Beanstalk | Jeremy Keen, Proprietor (Peddler) | Emmy Award for Best Children's Program |
| 1971 | The Funny Side | Himself | Series host |
| 1973 | Frank Sinatra: Ol' Blue Eyes is Back | Himself | |
| 1978 | Gene Kelly: An American in Pasadena | Himself | |
| 1980 | Muppet Show | Himself | |
| 1985 | North and South | Senator Charles Edwards | |
| 1986 | Sins | Eric Hovland |
Notes[link]
- ^ a b c d e Billman, Larry (1997). Film Choreographers and Dance Directors. North Carolina: McFarland and Company. pp. 374–376. ISBN 0-89950-868-5.
- ^ http://content.yudu.com/Library/A1saux/HeritageGazetteVol12/resources/8.htm
- ^ [1]
- ^ a b c d e f g h i j k l m n o p q r s Thomas, Tony (1991). The Films of Gene Kelly – Song and Dance Man. New York, NY: Carol Publishing Group. ISBN 0-8065-0543-5.
- ^ http://www.straphaelelementaryschool.net/alumni.html
- ^ a b c d e f g h i j k l m n Hirschhorn, Clive (1984). Gene Kelly – a Biography. London: W.H. Allen. ISBN 0-491-03182-3.
- ^ The Owl. Pittsburgh, PA: University of Pittsburgh. 1933. p. 158. http://digital.library.pitt.edu/cgi-bin/t/text/pageviewer-idx?c=pittyearbooks;idno=1933e49702;view=image;seq=0163. Retrieved 2010-06-09.
- ^ The Owl. Pittsburgh, PA: University of Pittsburgh. 1938. p. 198. http://digital.library.pitt.edu/cgi-bin/t/text/pageviewer-idx?c=pittyearbooks;idno=1938e49702;view=image;seq=203. Retrieved 2010-06-09.
- ^ cf. Hirschhorn, p.33.
- ^ Later examples of this human/animated character pas de deux include Paula Abdul opposite an animated cat in her "Opposites Attract" video, and Kelly dancing with Stewie Griffin in the episode "Road to Rupert" from the Family Guy series.
- ^ According to Blair, p.111, he directed Jocelyn Brando in a semi-documentary about war-wounded veterans.
- ^ Astaire, Fred (1959). Steps in Time. London: Heinemann. pp. 291. ISBN 0-241-11749-6.
- ^ Blair, p.104: "Gene was the central creative force in this initial collaboration, but he was always generous about Stanley's contribution...Unfortunately, and mysteriously for me, Stanley, over the years, had been less than gracious about Gene"
- ^ In 1994, Kurt Browning, offered an ice skating interpretation of "Singin' in the Rain" on his television special You Must Remember This. In 2005, Kelly's widow gave permission for Volkswagen to use his likeness to promote the Golf GTi car. The advertisement, shown only outside the US, used CGI to mix footage of Gene Kelly, from Singin' in the Rain, with footage of professional breakdancer David Elsewhere.
- ^ In an episode foreshadowing his later conflicts with the studio, Elia Kazan in the late 1940s offered Kelly the role of Biff in Death of a Salesman on Broadway, but MGM refused to release him. cf. Blair, p.112
- ^ a b c d e Delamater, Jerome (2004). "Gene Kelly". International Encyclopedia of Dance. vol. 1. Oxford: Oxford University Press. pp. 38–40.
- ^ cf. Hirschhorn, p.25,26: "What impressed Gene was the originality of the man's [Dotson's] dancing, as it was quite unlike anything he'd seen before. The tricks Dotson was doing were absolutely fresh. He went back to see that act a couple of times, and admitted pinching several steps for his own use...Just as he had done with Dotson, Gene made up his mind to 'steal' as much as he could from numerous touring shows...both he and Fred were absolutely shameless when it came to pilfering, and very good at it."
- ^ Blair, p.176
- ^ http://www.genekellyscene.com/books.htm
- ^ a b Blair, Betsy (2004). The Memory of All That. London: Elliott & Thompson. ISBN 1-904027-30-X.
- ^ a b http://findarticles.com/p/articles/mi_m0MKY/is_10_29/ai_n13807354/
- ^ Yudkoff, Alvin Gene Kelly: A Life of Dance and Dreams, Watson-Guptill Publications: New York, NY (1999) pages 58–59
- ^ cf. Blair, p.8: "Kerry later told me that they all felt as if she [Patricia Ward, Kelly's wife at the time of his death] 'threw him away – as if he were garbage to be incinerated and thrown away. There aren't even any ashes'. His children, who loved him, never even got to say goodbye to their father. It would have saddened and, I imagine, enraged him because he loved his children deeply."
- ^ "6th Berlin International Film Festival: Prize Winners". berlinale.de. http://www.berlinale.de/en/archiv/jahresarchive/1956/03_preistr_ger_1956/03_Preistraeger_1956.html. Retrieved 2009-12-26.
- ^ "National Medal of Arts". www.nea.gov. National Endowment for the Arts. http://www.nea.gov/honors/medals/medalists_year.html. Retrieved 2011-05-23. "1994-Gene Kelly – dancer, singer, actor." One website, Movie Treasures, refers to this award as the "National Medal of Freedom" causing some people to mistake the award for the entirely unrelated "Presidential Medal of Freedom." The award Gene Kelly received was the National Medal of the Arts. Kelly's name does not appear on the list of Presidential Medal of Freedom Winners.
External links[link]
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Wikiquote has a collection of quotations related to: Gene Kelly |
- Gene Kelly at the Internet Movie Database
- Gene Kelly at the TCM Movie Database
- Gene Kelly at the Internet Broadway Database
- The Gene Kelly Awards – University of Pittsburgh
- Obituary, NY Times, February 3, 1996
- Naval Intelligence File on Gene Kelly
- Gene Kelly – An American Life – PBS
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| Persondata | |
|---|---|
| Name | Kelly, Gene |
| Alternative names | Kelly, Eugene Curran |
| Short description | dancer, actor, singer, director, producer, and choreographer |
| Date of birth | (1912-08-23)August 23, 1912 |
| Place of birth | Pittsburgh, Pennsylvania, U.S. |
| Date of death | February 2, 1996(1996-02-02) |
| Place of death | Beverly Hills, California, U.S. |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
