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Similaire à kbabcock Presentation powerpoint George Gershwin His life and Rhapsody in Blue
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kbabcock Presentation powerpoint George Gershwin His life and Rhapsody in Blue
- 1. His Life and His Rhapsody In Blue
- 2. A Biography
- 3. George Gershwin Born on September 26, 1898 in New York 2nd child and son to Morris and Rose Gershvin It wasn’t until his teenage years he changed his name to Gershwin Quickly grew to be an amazing pianist and composer
- 5. In His Youth George was rambunctious and often got into trouble He had an ear for music at young age At age 10 became close friends with a talented violinist named Maxie Rosenzweig George loved listening to all music
- 6. The Piano 1910 Gershwin family bought a piano George shocked his family with talent He began taking lessons and he continued taking for the rest of his life Some teachers include: Edward Kilenyl, Rubin Goldmark, Henry Cowell, and Joseph Schillinger
- 7. Beginning of Career 1914 Left high school for Tin Pan Alley First published song: “When You Want ‘Em, You Can’t Get ‘Em; When you Have ‘Em, You Don’t Want ‘Em” Then worked for Max Dreyfus to promote career First smash hit “Swanee”
- 9. Popular Career George and brother Ira created many Broadway hits together Many great hits which include Porgy and Bess An American In Paris Rhapsody in Blue Concerto in F
- 10. Art Composition George’s cousin and artist, Henry Albert Botkin George learned and loved painting
- 11. Art Composition George drew over 100 pieces of art Collected other famous paintings and sculptures Favorite collected piece: Picasso’s Absinthe Drinker
- 12. Self-Portrait in at Opera Hat, 1932. Oil on canvas, 29 x 20 in. Collection of Judy Gershwin, New York Self-Portrait in a Checkered Sweater, 1936. Oil on board, 24 x 18 in. Library of Congress, Washington, D.C., courtesy Ira and Leonore Gershwin Trust
- 13. End of Life 1937, headaches, memory problems, dizziness Tumor on the brain Died at age 38 on July 11, 1937 Many awards after death which included: 1985 Congressional Gold Medal (George and Ira) 1998 Polthumous Pulizer Prize for “Of Thee I Sing”
- 15. Before Rhapsody in Blue 1922 Paul Whiteman and George’s “Blue Monday” Whiteman known as “king of jazz” “Blue Monday” was a flop Whiteman was still impressed with George
- 16. Rhapsody in Blue Whiteman’s “Experiment In Modern Music” Asked George to prepare a piano concerto George declined, there was not enough time
- 17. Rhapsody in Blue Jan 4th Newspaper announcement stated: George was already working on concerto George’s shock No choice, immediately began composition Only weeks to prepare
- 18. Inspiration Music came to George on a train to Boston In the words of George: “It was on the train, with its steely rhythms, its rattle-ty bang that is often so stimulating to a composer…” “I hear it as a sort of musical kaleidoscope of America—”
- 19. Orchestration Ferde Grofe worked with George Grofe orchestrated the Rhapsody
- 20. Experiment In Modern Music Rhapsody in Blue premiered on February 12, 1924 New York’s Aeolian Concert Hall George improvised much of the piano roll Success! Boosted career and wealth Recorded multiple times
- 21. Arthur Dove’s Painting Arthur dove enjoyed the Rhapsody and other pieces by George Made abstract paintings of his music Painted two different canvases of the Rhapsody in Blue Rhapsody in Blue, Part I-George Gershwin
- 22. Rhapsody In Blue George created four-hands, two piano duet Had plans to complete his own orchestration Many musicians have played, re-orchestrated and re- recorded Rhapsody is well known throughout the US Played by 84 piano’s for 1984 Olympics
- 24. Beginning of the Rhapsody 0:00 Famous 16 note clarinet glissando starts the song 0:10 slow brass instruments begin to play with clarinet 0:39 energy picks up and maintains a jazzy feeling There are at least 5 themes introduced Some say there is a lack of form A few short piano solo’s
- 25. Middle of the Rhapsody 4:12 A change in the music: block and stick, and brass The piano takes the stage Piano solo’s at 4:55-6:33 and again from 6:57-8:26 Many rhythm changes and strong dynamics Speed and skill with many glissando’s and trills A few sections with a ragtime rhythm
- 26. Latter Portion of the Rhapsody At 8:27 Another change in music, slower, serene Shifting melody between different instruments Violins play a lullaby Then long crescendo’s and drum roll’s 10:07-11:53 Piano plays a softer, slower solo, then switching to faster, stronger and more energy One long, forte, minor note with all of the instruments
- 27. The End 12:49 trumpet glissando introduces a returning theme Many instruments playing Stronger, louder, more emotion and excitement 13:16 The entire band plays loud, confident crescendo Trumpets play one long note to prepare for finale 13:37 the band plays the last note: loud, strong and with all energy for a dynamic ending
Notes de l'éditeur
- Morris and Rose Gershvin were Russian immigrants who had come to the United States around 1891. They were married in 1895 and subsequently had four children. The second child and son, Jacob Gershvin, was born in Brooklyn, New York on September 26, 1898 (“George-About the Composer”). Jacob Gershvin changed his name in his teenage years to George Gershwin and is now known by that name. His older brother, Ira, also adopted that same last name. George grew to love music and eventually became a famous musician in composition and performance. Some would describe him as a musical genius. "George Gershwin-About the Composer." PBS.org. American Masters, 07 June 2006. Web. 05 June 2013.
- George was known to be quite rambunctious in his youth. He enjoyed playing back-alley games and had a lot of talent when it came to roller skating. One thing that George did not enjoy however, was reading. He often skipped school and got into fights, leaving his older brother, Ira, to explain his whereabouts (Cowen). Even so, George had an ear for music even at a young age. Once at ten years old, while he was playing ball outside his school, he heard a talented violinist playing through the window, and had to seek out who was playing it. The player was named MaxieRosenzweig and the two soon became close friends. Maxie was a large influence for George and helped spark his interest in serious music (Ewen 1). In his younger years, George was also known to sit outside of different clubs in order to hear the music that played, just so he could soak in the sounds.Cowen, Ron. "George Gershwin: He Got Rhythm." Washingtonpost.com. N.p., 1998. Web. 05 June 2013. <http://www.washingtonpost.com/wp-srv/national/horizon/nov98/gershwin.htm>.Ewen, David. "George Gershwin." PBS.ORG. PBS, n.d. Web. 05 June 2013. <http://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_ggershwin.html>.
- In 1910 the Gershwin’s bought an upright piano, with the intent of Ira learning to play it. However, George had already been learning how to play the piano through tinkering with a schoolmate’s player piano. George immediately started playing their new piano and his family was thrilled to find that he already had musical talent (Cowen). Ira was pleased that he was no longer required to take lessons anymore due to George’s obvious talents. George began taking lessons from a variety of mediocre, local piano teachers. In 1912 George found an amazing and well qualified teacher named Charles Hambitzer who was not only a pianist, but a composer as well. Hambitzer introduced Gershwin to classical music and also recommended other teachers for him as well. Throughout his entire life, George took lessons from a handful of great teachers. Some of these teachers include Edward Kilenyl, Rubin Goldmark, Henry Cowell, and Joseph Schillinger (Ewen 2). Cowen, Ron. "George Gershwin: He Got Rhythm." Washingtonpost.com. N.p., 1998. Web. 05 June 2013. <http://www.washingtonpost.com/wp-srv/national/horizon/nov98/gershwin.htm>.Ewen, David. "George Gershwin." PBS.ORG. PBS, n.d. Web. 05 June 2013. <http://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_ggershwin.html>.
- Only a few years after the family had purchased the piano, George left high school in order to work as a piano plugger at Tin Pan Alley in 1914 (“George, Legend Lives On”). While there, he published one of his first works, “When You Want ‘Em, You Can’t Get ‘Em; When You Have ‘Em, You Don’t Want ‘Em”, and many others. In 1918 George left Tin Pan Alley to work for Max Dreyfus who only asked that George keep on writing songs and to allow Dreyfus to promote George’s career. During this time George met a lyricist named Irving Ceaser. Together these two composed numerous songs including George’s first smash hit, “Swanee” (“George-About the Composer”). "George Gershwin-About the Composer." PBS.org. American Masters, 07 June 2006. Web. 05 June 2013.“George Gershwin: The Legend Lives On.” Gershwin.com. Gershwin Enterprises, n.d. Web. 05 June 2013. <http://gershwin.com/about/george-gershwin> .
- George quickly grew in popularity and he also began writing a lot of different Broadway songs. George’s brother, Ira, was a big part of his life and the two of them worked together until George’s death. George would make the music, and Ira would create the lyrics. Some of the big Broadway hit’s for these two include, “Lady, Be Good!”, “Strike up the Band”, “Of Thee I Sing”, “Porgy and Bess” and many, many more. In 1924 George frantically wrote a jazz piano song for Paul Whiteman’s band which was orchestrated by Grofe. Originally the tune was going to be called “American Rhapsody”, but Ira, George’s brother, helped suggest the new name “Rhapsody In Blue” which it has been known by ever since(Zulczer 363). This became one of George’s shining moments in proving that he could be a serious composer and performer. George continued to write Broadway songs, comedic songs, and wrote many sophisticated concert pieces and even began to orchestrate his own pieces (one of which was Concerto in F). Zilczer, Judith. “Synaesthesia and Popular Culture: Arthur Dove, George Gershwin, and the “Rhapsody in Blue.” Art Journal 44.4 (1984): 361-366. JSTOR. Web. 5 June 2013
- One thing about George that may not be well known is his interest and talent in the art of painting and drawing. George had a cousin named Henry Albert Botkin. Botkin was an artist and even studied in Paris. When Botkin had come back to New York, George was extremely interested and asked Botkin to teach him. George loved his new found interest in art, and according to Frank Crowninshield, a writer and a critic, “There were, indeed, periods when the palette almost weaned him from the piano; when he willingly stopped composing to paint and only grudgingly stopped painting to compose” (qtd. in “Gershwin’s Compositions”). “Gershwin’s Compositions in Paint.” American Art 7.3 (1993): 92-94. JSTOR. Web. 5 June 2013
- George painted many people including self portraits, family members and other famous artists. George painted and drew over 100 pieces of art. With the help of his cousin, Botkin, George learned to love and appreciate the arts so much that in addition to his own works, he began collecting other pieces of fine paintings and sculptures (“Gershwin’s Compositions”). One of George’s favorite pieces he collected was Picasso’s Absinthe Drinker. George even wrote to Picasso himself in order to authenticate the painting. Picasso wrote back declaring he had indeed painted that picture (Clarke 192). Clarke, Gerald. “Broadway Legends: George Gershwin.” Architectural Digest 52.11 (1995): 192 Vocational and Career Collection. Web. 5 June 2013 “Gershwin’s Compositions in Paint.” American Art 7.3 (1993): 92-94. JSTOR. Web. 5 June 2013
- “Gershwin’s Compositions in Paint.” American Art 7.3 (1993): 92-94. JSTOR. Web. 5 June 2013
- Early in 1937 George began suffering from chronic headaches, memory changes, and dizzy spells. It was found that he had a cystic degeneration of a tumor on the brain. George died shortly after surgery on July 11, 1937. He died at a mere 38 years old; however his music has lived on and has been played, sung, displayed and even used in major motion pictures. In 1985 the Gershwin’s (George and Ira) were awarded the Congressional Gold Medal from the United States Congress. Also, in 1998, one hundred years from George’s birth, the Trustees at Columbia University awarded him a special posthumous Pulitzer Prize for “Of Thee I Sing” (“Concert Work”). "Concert Work: Rhapsody In Blue." Gershwin.com. Gershwin Enterprises, n.d. Web. 05 June 2013. <http://www.gershwin.com/concert-works/rhapsody-in-blue1>.
- George Gershwin and Paul Whiteman had worked together on an opera called “Blue Monday”. In 1922, George had written this one act opera while Paul Whiteman conducted. Unfortunately this opera was pulled after the first performance. Even so, Paul Whiteman, who was known by some as the “king of jazz”, was impressed with George (Ewen 2). Ewen, David. "George Gershwin." PBS.ORG. PBS, n.d. Web. 05 June 2013. <http://www.pbs.org/wnet/gperf/shows/songbook/multimedia/bio_ggershwin.html>.
- Later down the road, Whiteman had been planning to produce an educational concert that would combine classical and jazz to show that jazz could be considered a professional and sophisticated form of music. It was going to be called “Experiment In Modern Music”. It is heard that Whiteman had asked Gershwin to compose a piano concerto only a short number of months before the performance date. Gershwin, who was already working on another major piece, had turned Whiteman down because it would be too hard for him to compose such a thing in only a few months.
- On January 4th of the year 1924, Gershwin was made aware of an announcement in the newspaper about the “Experiment In Modern Music” concert. The announcement claimed that George Gershwin was at work composing a jazz piano concerto. Rumor has it, that Ira was the one reading the paper and upon seeing it, rushed to tell George the news. George was quite shocked since he had never committed to this composition. Realizing he didn’t have much of a choice, George went straight to work on creating this piece with only weeks before the premier.
- It is said that the music for the Rhapsody came to George while he was on a train while headed to Boston. When asked about how inspiration for the Rhapsody came to him, George replied,It was on the train, with its steely rhythms, its rattle-ty bang that is often so stimulating to a composer.,.,.,. I frequently hear music in the very heart of noise. And then I suddenly heard--and even saw on paper--the complete construction of the rhapsody from beginning to end.,.,.,. I hear it as a sort of musical kaleidoscope of America--of our vast melting pot, of our unduplicated national pep, of our metropolitan madness ( qtd. in Cowen).Cowen, Ron. "George Gershwin: He Got Rhythm." Washingtonpost.com. N.p., 1998. Web. 05 June 2013. <http://www.washingtonpost.com/wp-srv/national/horizon/nov98/gershwin.htm>.
- George was in luck because he was able to work with FerdeGrofe, who had been working with Whiteman for the last few years. Grofe and Gershwin worked together in a frenzy in order to complete the task at hand. George would write up the piano score and then Grofe would orchestrate it. The ever famous clarinet glissando in the beginning of the song actually came about during a rehearsal and was then incorporated into the official song.
- On February 12, 1924, the Rhapsody In Blue was heard in New York’s Aeolian Concert Hall. It was piece number 23 in Paul Whiteman’s “Experiment In Modern Music”. George himself played the piano, and to this day it is not known exactly how the piano roll sounded. Because of the rush in preparing, George had actually improvised some of the piano roll during the premier and later wrote it down (“Rhapsody”). The musical number was a success and this helped jump Gershwin’s career into gear and add to his wealth. The song was a success and was officially recorded in 1924, 1927, and again in 1942. The latter is the recording that is most familiar and most often heard. "Rhapsody In Blue, by George Gershwin, Performed for First Time." History.com. A&E Television Networks, n.d. Web. 05 June 2013. <http://www.history.com/this-day-in-history/rhapsody-in-blue-by-george-gershwin-performed-for-first-time>.
- There are also two paintings that represent the feelings of the song. These paintings are by Arthur Dove and are called Rhapsody in Blue, Part I-George Gershwin and Rhapsody in Blue, Part II-George Gershwin. “Dove expanded the dimensions of the metaphor by transforming an intrinsically coloristic analogy into a painted analogue for music” (Zilczer 363). Zilczer, Judith. “Synaesthesia and Popular Culture: Arthur Dove, George Gershwin, and the “Rhapsody in Blue.” Art Journal 44.4 (1984): 361-366. JSTOR. Web. 5 June 2013
- One of the shining moments for the Rhapsody in Blue is when it was played by 84 pianists in the opening ceremonies of the Los Angeles Summer Olympics in 1984 (“Two Brothers”). George made many versions and even created a four-hands, two piano duet. He had plans to complete an original orchestration of Rhapsody in Blue by himself, but had passed away before it was ever completed. The song has been re-orchestrated many times, has been played by many musicians, it has been used in major motion pictures, and has been played and heard all across America.“Two Brothers Make History.” Gershwin.com. Gershwin Enterprises, n.d. Web 05 June 2013. <http://Gershwin.com/about/the-brothers>.Zilczer, Judith. “Synaesthesia and Popular Culture: Arthur Dove, George Gershwin, and the “Rhapsody in Blue.” Art Journal 44.4 (1984): 361-366. JSTOR. Web. 5 June 2013
- 0:00 Introduction: The solo clarinet trills which then turns into an ascending glissando.0:10 As the clarinet continues, some slow brass instruments come in to accompany, while the clarinet maintains the melody (many trills and high notes). This portion ends in a very high note of the clarinet.0:39 The trumpets pick up in energy and the clarinet/brass combo remains jazzy, then switches to a slower pace in an introduction into one of the many themes. 1:00 The piano comes in beginning on its own for a few seconds, then the trumpets come in with forte volume and some crashing symbols, along with many other instruments for a full timbre. Then just piano plays again for a moment, which is then combined with the triangle and some strings for a softer feeling. The tempo slows and the volume is mezzo piano. 1:24 The piano plays solo and starts to unevenly ascend with crescendo many quick notes, then begins to descend but still keeps the volume at a mezzo forte until at the end of the decrescendo where the volume drops to a very soft piano. Then music has some of the theme mixed in.1:51 A bassoon comes in to give some extra timbre to the piano solo but only at some intermittent moments. This section slows down to a generally at more of an andante pace. 2:20 Only the piano plays and at a very fast, almost a vivace pace without much of a melody. There are many staccato notes using mostly upper and middle notes. There is an arch melody which turns into lots of chords and then an amazing ascending crescendo2:45 The brass, percussion and woodwinds come in while piano continues to play one of the many themes. This is a lively feeling with a fast tempo and lot of energy. The trumpets have most of the melody with some quick clarinet glissando.3:09 This theme is very playful and feels as if somebody is twirling around in a hurry. It focuses on piano, trumpets, horns and clarinet. At about 3:19 the melody switches between the clarinet, and the trumpets, and then blends together with the piano. Then the focus is on the clarinet having the melody.3:41 This sections is what I consider be the main ritornello theme, which begins with a quick descending trumpet glissando. Following that, all instruments in together for a quick, high energy portions3:50 The trumpets and piano go back and forth, taking turns. Then back together with all the instruments.3:58 There are different instruments that take turns playing, almost as if they are talking to one another. It’s a slower feeling when the clarinet begins to descend. Then there are some forte staccato notes played together and ends with a symbol crash.
- 2nd Movement4:12 A block and stick play to keep the beat. It’s a fast allegro tempo and the trombone has the main melody. 4:32 The trumpets come in with melody with the rest of the instruments accompanying. The pitch is generally high with lots of energy with some piano trills intermittently throughout. It has the feeling of a ascending crescendo and increase in tempo.4:55 The piano only plays an amazing glissando up the whole piano, then plays one forte note at the bottom of the piano. Ascending back up the piano with grace notes, then decrescendo’s as the notes get to the top of the piano. This section has a great range in pitch.5:10 The piano continues with a solo with staccato trills. It is a slow, soft, jumpy feeling. Then he pulls in one of the themes with lots of grace notes then picking up speed and volume, then back to slow grace notes. 5:41 The piano still plays softly in a piano volume, but the pitch is deeper and very different compared to the other parts of the song. This almost has a minor feel for a few seconds, but then goes back to the most recent notes with a slightly different rhythm. 6:00 The tempo picks up in energy and has a stronger major feeling. This portion incorporates some of the same recent theme with quick notes, but then slows down for a ragtime style rhythm. The tempo slows dramatically while only the upper hand notes are played.6:24 A burst of forte allegro in one of the major themes. This only lasts a few seconds, almost as if to trick one into thinking the main theme is going to played. Then the music quits completely for a second and then the silence is broken with a piano, petite sound 6:34 The theme is then reintroduced with the clarinets while the symbols keep the beat. Also in the background the piano is going crazy with soft, piano, but yet presto glissandos while the clarinet continues with the melody.6:57 The piano goes back into a solo again with a few nice trills that are higher in pitch and gets faster in tempo. There is a forte pound on the lower end of the piano followed by descending glissando that starts at the top of the piano. This section is finished with a lower pitch, adagio pace.7:23 This section has a vivace pace and ragtime feeling to it. Most of it is set in a middle to lower pitch. The tempo gets even quicker to introduce more feeling.7:47 The tempo is quite fast, about an allegro pace. The timbre has gotten fuller with more chords. The ragtime style still stays. The right hand then has the melody while the left hand pounds out the chords.8:09 There is a huge glissando going up and down almost in an smooth, wave style while still working its way up in pitch. Then the chords go back down with more defined chords descending, while the dynamics are still loud. It switches over to a softer dynamic in order to introduce the next movement.
- 3rd Movement8:27 The symphony then comes in slow and serene and most instruments are playing the same melody at first. The instruments that are audible are the brass, strings, triangle and woodwinds. After the intro with all the instruments, the horns have some of the melody for a few moments intermittently with the strings. 9:00 The instruments are still slow and playing the major slow theme in the concerto. The emotion is stronger and there is a slight crescendo and the drum roll begins.9:14 The violins excel here with a lullaby melody while the horns play long notes in the background.9:29 The music has a stronger dynamic here while the general felling is a growing crescendo throughout. It is loud and the piano is heard, off and on, in this section as well as many other instruments. The brass take over the melody and there is a long awesome drum roll. 9:59 The xylophone take the main melody in a moderato pace with minimal, but staccato, accompaniment. 10:07 The piano is in another solo with a slow tempo, then ascending style and small crescendo. Then the music goes almost silent.10:26 The piano notes in the lower pitch keep most of the melody while the right hand moves many notes all over pitch of the piano. This part has a stronger dynamic with more energy and a higher tempo.10:48 This has a very jumpy, staccato melody and has an offbeat feeling with a fast tempo.11:03 The piano starts with a high pitch and very quick notes. This is a little slower at first, but then quickly increases to a presto pace with a lot of repetition and an increase in crescendo. Then there is a descending scale, still in the fast pace ending with a large forte glissando.11:54 There is a trombone that comes in with a moderato pace while the piano continues in a quick, high pitched frenzy. Following there is more brass instruments that are added. The brass instruments increase in tempo quickly and also in volume.12:23 Suddenly there is a long, minor sounding note all the brass instruments play together with the piano. A drum roll begins while the brass plays long notes softly. The piano comes in with extremely fast presto notes while the symbols play. The brass then all join in together to do a strong ascending crescendo to prepare for the last repeating theme.
- 12:49 A quick, short descending trumpet glissando introduces the returning ritornello theme. All of the instruments are playing in jubilant, as matter of fact way. Very strong timbre and texture as the piano maintains the melody with a full strong sound. This section is full of emotion and excitement.13:08 The piano slows down and really takes over with strong chords the trumpets pulsing on the offbeat. Then the piano does a small descending forte solo to prepare for the rest of the bad to come in.13:16 Then all musical instruments come in to play coda, still a little slower, to play loud, confident, strong full music that maintains a strong dynamic. There is a crescendo feeling while the majority of the instruments play in a homophonic rhythm with a gong on the offbeat.13:28 The strings play a long trill while the piano finishes off the melody in a strong forte with a lot of chords. It has a strong feeling that something is ending, with a strong building crescendo. The trumpets come in with one long note in order to prepare for the final note13:37 The last, forte note, with all of the instruments playing together for a strong boisterous ending.