“Rhapsody In Blue,” by George Gershwin, performed for first time
During a concert staged at the Aeolian Hall in New York City on February 12, , a young musician named George Gershwin, then known only as a composer of Broadway songs, seated himself at the piano to accompany the orchestra in the performance of a brand new piece of his own composition. Its title: "Rhapsody In Blue."
“The audience packed a house that could have been sold out at twice the size,” wrote New York Times critic Olin Downes on February 13, , of the concert. Billed as an educational event, the “Experiment In Modern Music” concert was organized by Paul Whiteman, the immensely popular leader of the Palais Royal Orchestra, to demonstrate that the relatively new form of music called jazz deserved to be regarded as a serious and sophisticated art form. The program featured didactic segments intended to make this case—segments with titles like “Contrast: Legitimate Scoring vs. Jazzing.” After 24 such stem-winders, the house was growing restless. Then came Gershwin.
“It starts with an outrageous cadenza of the clarinet,” wrote Downes of the now-famous two-and-a-half-octave glissando that make
Rhapsody in Blue at
The first public performance of George Gershwins Rhapsody in Blue was given years ago this week, on 12 February , at the Aeolian Hall on West 43rd Street in New York City, by Paul Whiteman and his Concert Orchestra, with Gershwin himself at the piano. Whiteman had commissioned the piece from its composer specially for the evening, which was billed as An Experiment in Modern Music.
I first heard Rhapsody in Blue in childhood, played by the same Whiteman/Gershwin combination, on the inch 78rpm record you see above, which my mother would have bought from a record shop in Barnsley, South Yorkshire, in the s. Nine minutes long, its split over both sides of the disc. The gramophone a Columbia Viva-Tonal Grafonola is the one on which she played it, along with her other 78s.
To mark the centenary, the pianist Ethan Iverson started a lively debate the other day with a piece for the New York Times in which he examined the artistic impact, then and now, of what he called a naive and corny attempt to blend the superficial characteristics of jazz with European classical music. If Rhapsody in Blue is a maste
Moments In History
On February 12, , Rhapsody in Blue premiered at Aeolian Hall in New York City. The music was played by Paul Whiteman’s band. The composer, George Gershwin, played the piano during the performance. The music was published on June 12,
“Rhapsody in Blue” had a profound impact on American music, bridging the gap between classical and jazz genres. George Gershwin masterfully integrated jazz elements into a classical framework, creating a unique fusion of styles. The piece boasts intricate harmonies that were characteristic of both jazz and classical music during that era. Furthermore, Gershwin incorporated syncopated rhythms and “ragged” time signatures, drawing inspiration from ragtime and early jazz forms.
The influence of Rhapsody in Blue goes beyond its musical breakthroughs:
- American Identity: This piece played a significant role in shaping a uniquely American voice in classical music, showcasing the nation’s cultural diversity.
- Legitimizing Jazz: Gershwin’s integration of jazz elements into a concert hall setting elevated jazz’s reputation as a serious art form.
- Cross-Genre Appeal: Rhapsody in Blue resonated with both classical and popu
Rhapsody in Blue: How Gershwin’s hastily composed ‘jazz concerto’ became his greatest masterpiece
12 February , | Updated: 12 February ,
Gershwin first found out he was meant to be writing ‘Rhapsody in Blue’ from a newspaper announcing its premiere just over a month away. Here’s the remarkable story of its creation.
George Gershwin’s Rhapsody in Blue stands out as one of the great symphonic contributions of 20th century classical music, certifying its author’s place in the history books as one of the most celebrated American composers of his era.
Such a monumental work must have taken months, if not years to write – or so you might think. But Gershwin only found out he was supposed to be writing the piece the month before its premiere!
The composer had been enjoying an evening in New York’s Ambassador Billiard Parlor on 52nd Street and Broadway, with his brother, Ira, and lyricist Buddy DeSylva.
The trio were relaxing in the smoke-filled parlour after a game in the small hours of 4 January , when an item in the amusement section of that morning’s New York Tribune caught Ira’s attention.
The article announced a concert taking place on 12 February, in just over
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