Product Description
This comprehensive biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music. Gershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. Howard Pollack draws from a wealth of sketches, manuscripts, letters, interviews, books, articles, recordings, films, and other materials--including a large cache of Gershwin scores discovered in a Warner Brothers warehouse in 1982--to create an expansive chronicle of Gershwin's meteoric rise to fame. He also traces Gershwin's powerful presence that, even today, extends from Broadway, jazz clubs, and film scores to symphony halls and opera houses.
Pollack's lively narrative describes Gershwin's family, childhood, and education; his early career as a pianist; his friendships and romantic life; his relation to various musical trends; his writings on music; his working methods; and his tragic death at the age of 38. Unlike Kern, Berlin, and Porter, who mostly worked within the confines of Broadway and Hollywood, Gershwin actively sought to cross the boundaries between high and low, and wrote works that crossed over into a realm where art music, jazz, and Broadway met and merged. The author surveys Gershwin's entire oeuvre, from his first surviving compositions to the melodies that his brother and principal collaborator, Ira Gershwin, lyricized after his death. Pollack concludes with an exploration of the performances and critical reception of Gershwin's music over the years, from his time to ours. ... Read more

Customer Reviews (5)

Comprehensive!
After 70 years or so since George died so tragically, much has been written, however, Howard Pollack gives new meaning to comprehensive. I became a Gershwinaholic in my early teens having seen the film "An Amercian in Paris" and I needed this volume to round off my collection. Totally engaging and extremely well researched with much new information, this is a must-have for all who love Gershwin and his music.

The Best Gershwin Bio
I don't have much to add to what others have said on this site. But I have read most of the other Gershwin biographies, and this one is by far the most complete. It's less about Gershwin the man than Gershwin the artist--but doesn't that make it a richer read? Very few of Gershwin's contemporaries still have the fame that they once had, but he's as well known as ever. Why? It isn't because of what he was like at a party or some such. It was the music he wrote.

Exhaustive, but not exhausting biography
Pollack's book is clearly aimed at Gershwin fan(atics)--it's an inch-by-inch biography that focuses more on the artist (and the music) and less on the man per se. But that's not a criticism. There are plenty of books that delve into Gershwin's personal life; Pollack's is the definitive look at Gershwin the creator. Granted, there's an overwhelming amount of detail--about every single music teacher, about every single piece he wrote, and how all of it interrelates. At times, the minutia drives you nuts (especially when Pollack gives the reader lengthy plot summaries about every musical Gershwin wrote); but ultimately, it all adds up tothe fullest, most complete picture of Gershwin we've ever seen. Pollack convincingly (and finally) dispels many misconceptions about Gershwin (especially his ability to orchestrate), and reveals new depths and insights about the man's work. Once you read a classic bio (such as Edward Jablonski's), turn to this book next.

Genius writes about genius
We usually apply the term genius to the subject of a biography. With the writing of Howard Pollack, one can also apply that term to the biographer.

When I first heard that Pollack was at work on a biography of Gershwin, I was saddened to think that he would be devoting his time to someone who had been the subject of so many biographies. I thought, what else was there to be said about Gershwin, but when I recalled the balanced and thoroughly considered approach he brought to his biography of Copland, I was curious to read what he would write. Not only was I not disappointed, I was overwhelmed.

Pollack does not question the actions of his subjects, he reports and tells a story, leaving the reader to make his or her own judgements. There is no attempt to sensationalize anything as he lets the facts speak for themselves. Pollack treats his subjects with the greatest respect without losing sight of their humanity. He brings great dignity to his writing and to his subjects.

His use of the language is transparent. You are never slowed down by his words. When he writes about music, Pollack has a remarkable ability to engage both the musician and non-musician alike. As with his volume on Copland, you sense he knows the music so well that he can intuit what the composer intended with each new work. He seeks out so much of the related material one would think he has devoted his entire life to the study of his subjects. You are aware of the detail, but not overwhelmed or encumbered by it.

I found the quotes from Michael Feinstein to be very informative. Feinstein, is not only the great exponent of popular music of the tradition of Gershwin, Kern, Berlin, et al; he is also one of the most informed in the music of that period. The time Feinstein spent as Ira Gershwin's assistant lends credibility to his perspective and recollections, and adds great insight to both the humanity and the music of Gershwin.

This volume is as close to an encapsulation of Gershwin's life and works as one could hope to find in words.

THE Gershwin study
Gershwin buffs, run, don't walk to get this book. Pollack has written the definitive study of both "The Life" and "The Work," as per his two fat sections.

Pollack's book is, for one, the first Gershwin bio that takes advantage of the discovery of mountains of original orchestra parts for Golden Age musical theatre scores in a Secaucus warehouse in the early eighties. As such, Pollack analyzes Gershwin's theatre scores closely just as classical music scholars can attend to Mozart or Haydn's works.

Earlier bios could only address the scores largely on the basis of the songs from each score that happened to be published as sheet music, with only a handful of the scores then existing as full piano-vocal scores or as latter-day abridged and heavily adapted recordings. But over the past two decades, most of Gershwin's significant scores have been recorded in full from the discovered materials, such that via these recordings as well as examining the original materials himself, Pollack can address the work as it was presented when it was new, i.e. chorus numbers, character songs not published as sheets, incidental music, etc. Given that musicals constituted the bulk of Gershwin's output in his short life, this alone makes Pollack's book invaluable.

In addition, some Gershwin bios have been written by people focused on pulling him down, devoted to revealing him as an undereducated, boorish parvenu (i.e. the ones by Charles Schwartz and Joan Peyser). Pollack's sleuthing and interviews conclusively demonstrate that these evaluations were incorrect: Gershwin pursued serious musical training throughout his life, it shows in his work, and socially, he was a beloved, charming person who was deeply mourned at his death.

Pollack has truly done his homework, such that just about any question one might have about Gershwin is exhaustively answered. For each show he chronicles not only the score and its critical reception in New York, but also its London and even Australian versions if there were any, all of the revivals across the US, and its recordings -- and he does this even starting with the obscure early efforts. He is equally thorough re Gershwin's concert music.

It should be said that those seeking further engagement with the raison d'etre of Joan Peyser's THE MEMORY OF ALL THAT, the story that Gershwin fathered a love child with a chorus girl and paid him and his mother off to keep it quiet, will not be satisfied. Pollack briefly addresses objections to that thesis from some quarters since Peyser's book was published -- but, in my view, neglects the rather damning facts that 1) said love child looks exactly like Gershwin and 2)was supported in his claim to have made regular visits to Gershwin's apartment by none other than Gershwin's valet. As such, one must consult various sources pre- and post-Peyser to come to conclusions about that issue. One suspects that Pollack, having been granted interviews from surviving keepers of the Gershwin flame, opted on that particular subject to step around giving offense. He is not to be faulted for this.

It should also be said, however, that inevitably of a work so dazzlingly complete, this book is not one most people would want to read from front to back. It is, in its way, a reference book set in prose. There are times when Pollack seems almost obsessive -- such as bringing vast study to bear upon locating the purchase by Gershwin's parents of a piano in precisely late 1910, or letting us know (based on a chance message from abroad) that OH, KAY played in translation in Sweden, or informing us via close examination of the original arrangement of RHAPSODY IN BLUE -- not later arrangements, but the original one, mind you -- that one player doubled on bass and tuba.

But this degree of obsession is what real scholarship is, and though for most it will be a book to jump around in than to read page for page, Pollack has given us an authoritative masterpiece. I am in awe of the man, and happy to have this one on my shelves forever. ... Read more

Product Description

Customer Reviews (4)

An American Master Whose Work Has Aged Well
A well written and very readable narrative overview of George Gershwin and his times, with engaging thumbnails of the personalities he was associated with. A master songsmith without any formal musical training, the tunes he crafted cover the heyday of New York City's Tin Pan Alley, to the advent of Broadway musicals, as well as American Jazz and a uniquely American opera. Many of the tunes he wrote are still with us and popular today. The book gives a glimpse of the crafting of popular tunes, often accompanied by his brother Ira as lyricist, where a simple word or surprising musical phrase could make a song a hit. Long before MP3 players and iTunes, songsmiths' lived by royalties based on published sheet music, with the Gershwin brothers being consistent masters at it. Gershwin was working to broaden his appeal and artistic skills, but died before his personal masterpiece, Porgy and Bess, became widely recognized and acclaimed. Gershwin was not alone, and his time included other masters of popular music, entertainment and culture, though few as recognizable as he is today. The book's 173 pages are organized into 21 chapters, with an epilog of the subsequent careers and lives of those closest to him.

Incredible!
I have long been convinced as a college professor, a choral director and a student of American music that George Gershwin ranks among the greatest if not THE greatest American composer.Mr. Rimler's book is a wonderful synthesis of his life and works and it was an unabated joy to read.I would recommend it to anyone who knows and loves Gershwin as I do or else wants to be introduced to this remarkable man. Thanks, Mr. Rimler for a wonderful read.

An exceptional book
Just when you thought there could not be any more material to cover Gershwin's short life (the definitive Howard Pollack book of 2006 is possibly the greatest monument)- out comes this little book by Rimmler, and it opens new doors into the Gershwin world.Rimmler had access to private letters of Gershwin's lover Kay Swift, and they are distilled into the narrative.This book is a master class in economy, the condensing of information is brilliantly executed and cuts right to the core of fact.We fly along at breakneck speed, still managing to stumble over an anecdote or two that had previously been unheard of.This book is a little marvel! I am ranking it up there in the top five of best Gershwin biographies.

gershwin the greatest .
As an alltime admirerer of the music of George Gershwin, this book was just wonderful.I have read other books on Gershwin, butthe detail and directness in the writing is just exceptional.It is also part of the history of American theatre inthe early 20th century.Wonderful photos.Highly reccomend this book to anyone who is interested in Broadway & concert music. ... Read more

Product Description
The life and work of Gershwin recalled by friends, colleagues, associates, and pupils, including Koussevitsky, Schoenberg, Richard Rodgers, and his brother Ira. ... Read more

Product Description
Two-piano edition, with second piano playing a transcription of the orchestration. Two copies are necessary for a performance. ... Read more

Customer Reviews (6)

this book is not for piano
This book is wrong on the display, this book is for orchestra and not for the piano. The inside pages shown on the display is for two pianos and for piano concerto when I ordered, that was what I wanted. But when it arrived, it is for the orchestra and not for the piano. I'd to go to my local music store to buy the 2 piano 4 hands because I was running out of time and I need to use it immediately. Bad experience and will not do that anymore.

Worth the challenge
This is a wonderful piece that is beautifully transcribed and professionally printed/presented. The pianist must have advanced technique and good reach to perform this piece. In addition, the rapidly repeated notes within crossed-handed playing positions make for a true challenge.

Once you have this one mastered, you'll be asked to perform it every time your "fans" visit. It's a spectacular performance piece that lets the pianist traverse the entire keyboard and produce magical sounds with wide ranging expressiveness.

Gershwin was a genius.

Clear score, beautifully laid out
This two-piano version has been corrected and updated to reflect the original Gershwin "chamber" version, which is now commonly available for full orchestra.If you are listening to recordings, it is the version used by James Levine in his recording with the Chicago Symphony, as opposed to the old classic Bernstein/NY Phil.A great buy for the price, very accurate and easy to read, with a helpful analysis of the work at the beginning.

A Cornerstone of Piano Literature
Simply said, I am using this as the feature of my senior piano performace recital at my college. This brilliant work is something to behold in its concerto form, something to enjoy it its orchestral form, and something that every one should study in its piano solo form.

Gershwin himself wrote this arrangement, so it can be safe to assume that everything in this piece is exactly how Gerswhin wanted it. I would imagine he would best realize what he original thought to be the important parts...

Ryan

George Gershwin's Rhapsody in Blue -- piano solo
Overall excellent.Deviates in some areas from traditional orchestral renditions -- leaves out a few minor portions and adds in others.Some sections very difficult (e.g. apparently carry-overs from 4-hand/2 piano version).But a great work nonetheless. ... Read more

Product Description
This book features the world famous composer Gershwin. Venezia's mixture of photos and his own illustrations provides the reader with factual biographical information about Gershwin, along with the forces that inspired his music. ... Read more

Customer Reviews (2)

Another Great Composer Biography
This is a great representation of George Gershwin's life.A must have for every elementary school library.It has beautiful black and white and color pictures along with cartoons enhancing the story.Hyper-sensitive schools and parents may be shocked at the first photo of the book which has Gershwin sitting at the piano with a cigar in his mouth.If everyone can get past that picture by reminding children that this was before people knew that smoking was bad for your health, then you can enjoy this great biography.

Interesting and Enjoyable
This is one in a wonderful series of books intended to introduce young readers to the lives of famous composers. The story of George Gershwin not only tells about his life, but also gives children a feel for the time helived in. Venezia uses details about Gershwin as a child to draw youngstersinto the story. They can empathize with the young George who is seen as a"nerd" by his peers, because of his love for music. Yet he stillenjoyed sports, particularly roller skating. As always, Venezia'sillustrations are wonderful and I particularly enjoyed the photographs andartwork that accompanied them. All the parts come together to give childrenan interestingand enjoyable pictureof the man and his music. ... Read more

Product Description
A comprehensive collection of 39 of George and Ira's best, including: Fascinating Rhythm * How Long Has This Been Going On * I Got Rhythm * Let's Call the Whole Thing Off * Love Walked In * Nice Work If You Can Get It * 'S Wonderful * Someone to Watch Over Me * Strike Up the Band * They Can't Take That Away From Me * and more. ... Read more

Customer Reviews (5)

enjoyed it
I think this is a good book for beginning//intermediate adults. There are songs at many levels and they are of course, great songs!

Beware........for the beginner piano player!
I guess I should have asked, but I read all the reviews and no mention was made that this is for the "beginning" piano player.I'm not "concert" talent but this is for someone just beginning......say two/three years........(think, "big notes")so............I was disappointed.If you're just looking for vocal/guitar music, this might fill the bill.

I returned the book and was given full credit.Nice to deal with an understanding seller.

Songbook of Gershwin's Most Popular Songs
The Gershwin Collection is a songbook containing music from Gershwin's most popular songs, including "Someone To Watch Over Me," "Nice Work If You Can Get It," "Embraceable You," and "Love Is Here To Stay."

Piano transcriptions are provided as well as guitar chords and lyrics where applicable.Gershwin's symphonic/ concert works are not included in this collection.Almost all the works here are Gershwin's popular works, most of which originated from Broadway musicals and film.

Also included are songs from Porgy and Bess, the first American Folk Opera."Summertime," "I Got Plenty O' Nuttin'," and "My Man's Gone Now" are among works included from the opera Porgy and Bess.

Thegreatness of the Gershwins
Collected here are many of the true standards, the true classical works ofAmerican song. These are the songs played through the Muzak, the songs at the background of so much of American life and experience.
I confess to walking and singing many of these songs as I go. There is a special spirit in them, a spirit of youth and yes a spirit of American optimism and freedom. Even the songs of disappointed love have in them a kind of optimism given by what might be called the 'elegance and tenderness of their beauty'.
I have never reador heard a real analysis of 'Summertime ' and 'Embraceable you' of 'I got rhythm' or 'It Ain't Necessarily so' but my sense the vitality, the vibrancy of youth is at the heart of these songs. And then too a real sympathy with suffering.

Songs
I myself take voice lessons and all the pieces I sing are taken from this book.It is full of wonderful Gershwin songs and is a great buy. ... Read more

Product Description
This is a startlingly fresh account of the life of one of the greatest 20th-century Americans, composer and songwriter George Gershwin. Joan Peyser examines Gershwin's character, his complex relationship with brother and collaborator Ira, and his several romantic affairs. This 2007 edition includes newly discovered information in a new author's introduction. ... Read more

Customer Reviews (7)

Fascinating Overview
This was a fascinating overview of the life and career of a wonderful composer/performer who left us much too early.It has many details of his life from his youth on through his burgeoning career and successes to his very sad and seemingly unnecessary early demise.
We can get some idea of the internal forces that drove him to his astounding output.
His music, an unbelievably beautiful and defining collection for one so young, has inspired and influenced many over the years and lives on through many movies and records/Cd's.
It's a worthy book for those of us who are lifelong fans to learn more about him, his wonderful talent and (as they say) 'the rest of the story'.

Fascinating Gershwin
Joan Peyser presents a revealing new account of the intriguing life of American composer George Gershwin. Startling, and always well-documented, Peyser describes the life of this American musical icon of the 1930's, whose compositions include "Rhapsody In Blue", "An American In Paris" and the unforgettable "Porgy and Bess". Peyser, a frequent New York Times contributor andpast editor of the distinguished journal "The Musical Quarterly", is well known for her acclaimed biographies of musicians Leonard Bernstein and Pierre Boulez. A great read - fascinating and very worthwhile.

Confused & Confusing
A unhealty stew of a book.While there are a few interesting insights, it is poorly integrated with little or no logical development. It reads like a poorly edited Master's thesis.Too much gossip, second and third-hand reports, and gross speculation.Gerwhwin's impact on both popular and "serious" music is severely understated.Probably the best part of the book is the picture section.

A Guilty Pleasure
Though I enjoyed this book tremendously, it was a guilty pleasure. Gershwin's musical life has been thoroughly documented in other books, and comparatively Joan Peyser does a decent job of informing the reader of Gershwin's musical development in this book. However, her strong suit is Gershwin's personal life, and her theories and conclusions in that arena range from the very well-researched to blatant hearsay. Peyser's skill at doggedly digging up such obscure hearsay is impressive. Nothing revealed by Peyser's conclusions seems much out of character for Gershwin based on what we know from earlier more scholarly biographies; it all comes across as quite believable, and addresses head-on some of the juicier issues related to Gershwin's private life. In that sense, this book is a real page turner.

If the principles of scholarly biographical writing dictate that an author doesn't print information that didn't come from one or more reliable sources, Peyser has thumbed her nose that principle throughout this book. She frequently presents tantalizing bits of insider information that she obtained from a lone source, or worse yet from a person quoting another person, and in at least one memorable instance, a person quoting another person quoting another person (whew)! Having said that, essentially there are two new theories that she pushes in this book. One, is that Gershwin had a subconscious masochistic streak in him that caused him to gravitate towards people of a cruel, insensitive, selfish, or sadistic nature (theoretically because his mother was such a person), and the other: that it is a FACT, not rumor that Gershwin fathered an illegitimate son. While the former contention is merely interesting, the theory about Gershwin's illegitimate son carries more historical importance, and deserves a closer look.

Other biographies, notably Charles Schwartz' 1973 biography have addressed the alleged son's claim to be Gershwin's progeny while also making the disclaimer that there is no evidence to prove or disprove the alleged son's claim. Peyser, on the hand, dives head first into this controversy, throwing out every bit of information on the matter that she can dig up, from solid proof to secondhand hearsay and let's the reader decide whether or not it is true. Is this responsible journalism? Probably not. Does it mean that the story is nothing more than an outlandish fabrication? No, it does not. From what we do know as fact about Gershwin, the story is plausible. We do know from numerous reliable sources that Gershwin had an enormous sexual appetite, sleeping with dozens of women in his short life. We also know from the medical records of Gershwin's time that a dancer who appeared in George White's Scandals of 1927, one of Gershwin's musicals, gave birth to an illegitimate son in 1928 who grew up to bear a striking physical resemblance to George Gershwin, including the same premature male pattern baldness famously characteristic of the adult George Gershwin. All coincidence? Perhaps. But based only these facts alone, it is not hard to believe that Gershwin fathered at illegitimate child. It would be harder to believe that he did not. The odds were certainly against him.

I do believe there are certain exceptions to the principles of scholarly journalism, however questionable and unsavory they may be. One exception is when clear factual information simply does not exist to prove a theory, and the best proof an author can muster is circumstantial, e.g., Tchaikovsky's homosexuality. There is no solid proof to back up this claim OTHER than hearsay, and yet it is mentioned in all modern biographies of Tchaikovsky, and generally accepted as fact by the public. Another exception is when solid factual information is known to exist by the author but is withheld by its source, forcing the author to dig around for scraps from less reliable sources in order to corroborate what is known to be true behind closed doors. Such may be the case with Gershwin's alleged son. In all likelihood, there is more than enough evidence to prove or disprove the alleged son's legitimacy (or illegitimacy, as the case may be) as George Gershwin's son. If evidence exists that could disprove the claim of Gershwin's alleged son, one would think that the Gershwin family would have made it public years ago. Therefore, it is reasonable to deduce that the information that they refuse to share with biographers would prove the alleged son's claims to be true. It is understandable that George Gershwin's descendants would want to protect the image of so important an historical figure as George Gershwin, but it is also understandable that Peyser, sensing that she is onto something, would feel compelled to quote less credible sources than the Gershwin family in order to make a case for an important matter in the life of her subject.

I sense that this author has a good nose for sniffing out the truth behind a story even if the proof of her contentions fails to meet good journalistic standards . Intuitive journalism, one could call it. While I am the first to admit that this biography lacks the stamp of responsible journalism, and smacks of lasciviousness, I believe the author is barking up the right tree in most cases, even if she is unable to prove beyond a doubt that there's anything actually up the tree.

A must-read for anyone seriously interested in Gershwin's life, even if one disagrees with every word of it.

Certainly Not Trash
This is much more than trash. I found it an unholy but compelling stew. This biography seeks to unmask Gershwin legends while touching on Gershwin's family, 20th century music trends, Broadway, popular song, and the zeitgeist. Granted, it does not tie these things together with any sort of elegance!

Peyser is not afraid to shoot from the hip. Sometimes she overextends and misses...sometimes she is truly persuasive about the players' psychology and motivations.

It's a weird read, combining the recollections of a 101 year old Gershwin family member with observations on Stravinsky's development as a composer. But I'm glad I read it. And I respect this author for doing what she could to record the recollections of people decades after the events. That, in itself, is no mean scholarly contribution!

When someone of remarkable talent and an extraordinary personality dies young, memories become rosy and sometimes a saint enters the historic record. This author doggedly shows just how prickly and unpleasant George Gershwin and many of his family members could be.

Finally, I feel obliged to note that this author seems very indebted to Jablonski's *Gershwi*. ... Read more

Product Description
From Porgy and Bess this is perhaps Gershwin's best loved song. This version is in the original key of B minor. ... Read more

Customer Reviews (4)

this beautiful book should have won some awards!
This is a gorgeous book of oil paintings depicting a rural African-American family during the summer.The focus of the paintings is an expressive little girl enjoying the natural world and the comforts of home with her family.I am surprised it hasn't won any awards, b/c it is a stunning book.My 17 month old daughter loves this book and requests it over and over.

hauntingly evocative of summertime in the south
I have always loved the song "Summertime," which my mother used to sing to my family when I was growing up.This book adds new layers of meaning to the song, with gorgeous illustrations depicting an African-American family living in the South.This is currently one of my thirteen-month-old daughter's top three favorite books, although it is not intended for her age group.She responds intensely to the images of the children in the swimming hole, the grandfather sleeping in his hammock, the mother baking an apple pie, and especially the last page where the baby is learning how to walk on the front porch.Although I have sung this book aloud to our daughter at least 100 times, I always look forward to singing it one more time.It's an absolute treasure.

fantastic illustrations capture the experience of summer
I was completely charmed by the paintings in this book. They were skillfully done, and depict the summertime of an African-American family in the south. Very warm pictures of family life.

A Hit With Children
I am a second grade teacher who read this story to a group of second graders last fall. The students also had an opportunity to listen to the Louie Armstrong and Ella Fitzgerald jazz rendention of the song. Mystudents love the story and frequently read it along with the CD. I likethe beautiful illustrations that accompany the story lyrics. The author dida wonderful job of combining vibrant illustrations with music lyrics totell a wonderful story. ... Read more

Product Description

Hyland reveals both the man and his creations, revealing how Gershwin became the first composer to apply popular music to classical forms, how his work reflected the turmoil of America in the Jazz Age, and how, despite his fame, he never achieved the happiness and contentment a genius of his stature deserved. This is a fascinating new biography that no Gershwin fan—and no music fan—should be without.

George Gershwin pioneered the crossover from Broadway musicals to concert audiences, culminating in what is arguably America's greatest opera, Porgy and Bess. In William G. Hyland's new biography, Gershwin's personality and music are reexamined. Hyland illustrates how the composer's craftsmanship was criticized and his music was relegated to the status of lowbrow for decades, until the relatively recent appreciation of his achievements.

Yet for all of his artistic brilliance, Gershwin was vulnerable and discontented in his personal life. Hyland reveals both the man and his creations, revealing how Gershwin became the first composer to apply popular music to classical forms, how his work reflected the turmoil of America in the Jazz Age, and how, despite his fame, he never achieved the happiness and contentment a genius of his stature deserved. This is a fascinating new biography that no Gershwin fan—and no music fan—should be without.

Customer Reviews (3)

Hyland's George Gershwin
I ordered this book because I've always liked Gershwin's music & happened to catch the last part of the film Rhapsody in Blue on Turner Movie Classics recently. The book does an adequate job of covering Gershwin's composing career, and indeed most of the chapters are titled according to the major composition discussed. If one is looking for in-depth information about Gershwin himself, his relationships, his family & his interests & activities outside music, the book is less satisfying. For example, one might assume from reading this book that his younger brother Arthur died in infancy as he is not mentioned except for his birthdate. Arthur actually lived to an old age, married, had kids & composed music himself. What relationship he & George had is unknown. Similarly, while Ira's wife Leonore had a part in George's life, she appears haphazardly throughout the book and little about her relationship with George is explored. George was also a painter but that is only tangentially mentioned. There is so much more that could fill out a broader, more in-depth picture of Gershwin. One could also wish for better editing to remove grammar errors & smooth out the repetitious use of some phrases as well as the jerky transitions from one subject to the next. The author's extensive research is evident & the endnotes at each chapter useful. For someone interested in Gershwin's growth as a composer, the book does a creditable job of documenting the major compositions & music events in the composer's life. For more about the man himself, readers must look elsewhere.

Scrupulously researched, but unfair to Goddard
Do we need another new biography of Gershwin? The author makes no strong claims to having written an important book. His introduction is so modest that you get the impression writing this book is a way to fill up the empty hours of his retirement. (He is 75, so no spring chicken.) That said, GEORGE GERSHWIN is scrupulously researched and makes claims for Gershwin's continuing stature within the field of music that pique the interest. Hyland's style isn't really a style per se, but it's serviceable and only gets in the way of his meaning occasionally.

I found Hyland's animus against the film star Paulette Goddard a bit puzzling. Is it because she was married (to Charlie Chaplin) when she conducted her affair with Gershwin? Hyland says that she is "not a reliable witness" as though this were a damning thing to say about someone's character (perhaps for a biographer it is, but for the general public? I don't know). She seems to have brought Gershwin some sexual pleasure and distraction from the illness that eventually killed him, but to hear Hyland tell it, it's almost as though her lying about dates done him in. Give a girl a break, William Hyland! Other than this lack of gallantry I enjoyed the book from beginning to end.

George Gershwin: A New Biography
I almost didn't finish this biography. The earliest part of the book, given over to a recounting of Gershwin's background and youth, is so stilted and so badly edited that I almost threw it against the wall. There are numerous misprints or typos. For example, lyricist Irving Caesar's last name is spelled three different ways on ONE page, and then the same three different ways again a few pages later. Didn't anyone proofread the book? In the book's second sentence we read that in 1898, the year of Gershwin's birth, the newly consolidated five boroughs of New York City 'encompassed over three hundred acres.' I don't think so; that's less than one square mile! But I persisted, and it got better. I noticed, also, that when the author, a former aspiring jazz trumpeter and then long-time editor of 'Foreign Affairs Quarterly,' was writing about the music itself his style became more graceful and his unbounded love for the subject was obvious. Indeed, his style is down-right perky when he's talking about something he's really interested in. Still, there is a good deal of 'and then he wrote' and extraneous material in the organization of the book.

I am certainly not a Gershwin scholar, but I have read several of biographies and lots of liner notes over the years. Edward Jablonski's Gershwin books remain the best I've seen. Still, I learned some new things in Hyland's book. For instance, I don't recall hearing or reading that Gershwin intended to write a total of 24 piano préludes (presumably like Chopin's Op. 28); he did finish three and apparently had begun a fourth. I read that and started wishing he'd kept at it--the three he published were party pieces of mine in my piano-playing days--but of course his was such a frenetic and tragically short life it's no surprise that he didn't manage it.

Quite the most appealing chapter for me is the one about 'Porgy and Bess.' It is chock-full of fascinating anecdotes as well as some serious analysis of the work itself. It is, after all, the greatest American opera. Hyland's enthusiasm for the subject and detailed knowledge of it makes this by far the most interesting chapter of all. For that I give him all credit.

This is not a book for the casual buyer but is necessary for anyone who wants to read more than the usual biographies. I will say this: Hyland seems to have read just about everything ever written about Gershwin and there is an extensive and helpful bibliography. For that alone, for some readers, it might be worth the purchase price.

Scott Morrison ... Read more

Product Description
All of the finest from this vastly talented composer. Includes: An American in Paris * But Not for Me * Embraceable You * A Foggy Day * Funny Face * I Got Rhythm * I've Got a Crush on You * Lorelei * Love Is Here to Stay * The Man I Love * Nice Work If You Can Get It * Rhapsody in Blue * Someone to Watch Over Me * Swanee * Sweet and Low-Down * 'S Wonderful * They Can't Take That Away from Me * more! ... Read more

Customer Reviews (3)

A great Christmas Present
My adult son likes to play his piano strictly for enjoyment, and is particulary fond of old show tunes.

He was very pleased to receive this collection and tried out some of the tunes over the holiday.

Summertime
I am not a musician and so I cannot comment on what is really the heart of this work, the sheet music, its arrangements etc.
I would however say that it is a pleasure to look at the lyrics of the great Gershwin songs. And it is too a great pleasure to hum in mind and heart the tunes which still keep a lot of people humming and hoping in the world.
The Gershwins were the greatest brother team music ever knew.
Ira later on worked with many other first- rate composers and was a master of writing lyrics.
But it is the great George Gershwin taken from us early whose music seems to define not simply a whole era ofmusic, the hope of jazz, and classic combined in a new folk popular swinging
and refined elegance.
The American soul for all time.

GREAT GERSHWIN!
This is one tremendous find! THe Gershwins wrote some very memorable tunes, and the piano arrangements (also includes vocals and guitar chords) are lush and exquisite! I have been looking for a book of Gershwin for piano awhile now and this is PERFECT! Lots of fun and pleasure, though it is not "EASY PIANO". Moderate ability is required, but you can always fake it by playing the chords and melody line. I love it! ... Read more

Product Description
The 100th birthdays of George and Ira Gershwin (in 1898 and 1896, respectively) are being celebrated around the world. The centennials are the perfect occasion to reflect on the brothers' rich legacy to American theater music. "The Man I Love," "Fascinating Rhythm," "Someone to Watch Over Me," "A Foggy Day"--together they wrote 700 songs and dozens of shows that defined an age and revolutionized the musical theater. Essential to any consideration of their achievement is Deena Rosenberg's Fascinating Rhythm, the only book to closely examine the brothers'extraordinary collaboration.
First published in 1991, this pioneering work--which grew out of extensive interviews with Ira Gershwin and draws on much unpublished material from his archives--provides an interpretation and critical history of the Gershwin opus. Focusing on the major songs and shows and on the creative process that produced them, Rosenberg traces the development of the Gershwins' vocabulary, voice, subject, and viewpoint as they evolved from song to song. She illuminates how words and music work together in each song to create a small one-act play that encompasses a satisfying emotional and dramatic action.
Rosenberg also expertly places the Gershwins in their creative and social context, highlighting their innovations, their own growth as mature artists, and their relationship to their times. And she outlines Ira's productive career following the untimely death of his brother in 1937.
Filled with musical examples, Iyrics, and photographs, this rich portrait will fascinate any musical theater lover.
"Packed with terrific insights that will delight those who care about this music." --New York Times Book Review
Deena Rosenberg is the founding chair of the Musical Theatre Program, Tisch School of the Arts, New York University. A cultural and music historian, she is coauthor of The Music Makers and has written for the New York Times, the Washington Post, the Chicago Tribune, the Los Angeles Times, High Fidelity, and other publications.
... Read more

Customer Reviews (1)

Stunningly beautiful, intelligent, fun, and engaging
When this book came out I was graduating from college with atheatre degree.A little lost, but in love with a recording of StrikeUp the Band, I bought this book.This beautiful book gripped me,delighted me and enchanted me.7 years later, I'm writing my dissertation on musical theatre, with my first chapter (and my favorite) on the Gershwins.Deena Rosenburg's book is a model of what musical theatre biographies can be--history on the authors, the shows and the times.I won't wreck the ending for you, but it is one of the only non-fiction books I could say that about.I spent a week as spellbound as I was when reading The Lord of the Ring, and I will always hold this up as a fabulous book to introduce anyone to musical theatre and a joy.Bravo!END ... Read more

Product Description
George Gershwin is one of the giants of American music, unique in that he was both a brilliant writer of popular songs and of more serious music. Here, music lovers are treated to a spectacular celebration of this great American composer.
The Reader offers a kaleidoscopic collection of writings by Gershwin, as well as those about Gershwin, written by a who's who of famous commentators. More than eighty pieces of superb variety, color, and depth include the critical debate over Gershwin's concert pieces, especially "Rhapsody in Blue" and "An American in Paris." There is a complete section devoted to the controversies over "Porgy and Bess," including correspondence between Gershwin and DuBose Hayward, the opera's librettist, plus unique interviews with the original Porgy and Bess--Todd Duncan and Anne Brown. Sprinkled throughout the book are excerpts from Gershwin's own letters, which offer unique insight into this fascinating and charming man. Along with a detailed chronology of the composer's life, the editors provide informative introductions to each entry.
Here is a book for anyone interested in American music. Scholars, performers, and Gershwin's legions of fans will find it an irresistible feast. ... Read more

Customer Reviews (4)

A Must Read For Any Gershwin Fan
This is a must-read for any fan of Gershwin's music and anyone who wants to know more about the man. The items have been brilliantly selected. Some of my favorites: a description of Gershwin by his sister, a magazine article from 1939 by Oscar Levant in which the famous musician/wit gives a perceptive and anecdote-filled portrait of his friend, and a letter by Gershwin to his mother written just prior to his death. Probably most interesting of all are interviews conducted by Robert Wyatt with Todd Duncan (the first Porgy) and Anne Brown (the first Bess). In these interviews, the two singers, speaking from the vantage point of more than fifty years, talk with candor and affection about the George Gershwin they knew.

Gershwin to the core
As compiled by Robert Wyatt and John Andrew Johnson, George Gershwin springs to life in this book as much as his music. Told from the inside out, the authors allow Gershwin, his contemporaries and those who followed him to create a picture of the composer and how he lived and breathed music every day. This is a beautiful book.

Chief among the contributions in "The George Gershwin Reader" are letters between Gershwin and those with whom he came into contact. We read Gershwin's letters describing how he composed, reactions from him to those who challenged his compositions (especially questions about his own orchestrations) and his eternal boyishness as he wrote friends and family regarding his daily pleasures. His early demise only strengthened the views of so many that Gershwin was a musical genius and that he, more than any other composer, captured the essence of America in transition between the two world wars.

Although "The George Gershwin Reader" can occasionally get overly detailed in musical theory, the pages flow easily. The brief summaries that the authors give before each numbered entry are most helpful for explanation in setting the stage for what ensues. The timeliness of Gershwin's life mirrored by these entries is the authors' best contribution.

It is easy to see why, more than eighty years after George Gershwin's first big success, "Rhapsody in Blue", his music has so long endured and is so endeared. This book is a great tribute to Gershwin and one I hope other readers will enjoy thoroughly.

Nice attempt, but it's been done more colorfully before
Certainly this is a worthy effort in the realm of Gershwin scholarship, and received deserved attention with an unusually long Gershwin piece, citing articles reprinted in this book, that appeared in the New Yorker magazine on Jan. 10, 2005. Nevertheless, readers should be aware that in 1998--and still available on Amazon--the first book to reprint these amazing primary-source articles by Gershwin and his associates, contemporaries, critics, etc., was published: GERSHWIN IN HIS TIME. Its focus was to provide an overview using original sources and writers (including both Gershwins, DuBose Heyward, Alexander Woolcoot, Olin Downes, Paul Whiteman, Brooks Atkinson, and other critics; also reprinting newspaper and magazine reviews of the major Gershwin symphonic and theatrical productions) of ONLY the contemporary accounts of the composer's works, as they were written and premiered.
In addition this was and is the first and only full-color book on Gershwin, and it augments the articles with page after page of reproductions of original sheet music, programs, magazine art, photos, posters, and pertinent memorabilia, all published during the composer's lifetime. It would be a shame not to acknowledge the groundbreaking nature of this first book to present the contemporary materials of Gershwin's life and career. Readers who are fascinated by this subject, and would like to see color visual counterparts to the original articles, are encouraged to seek out a copy of GERSHWIN IN HIS TIME.
However, readers should understand that the new GERSHWIN READER expands on the materials in GERSHWIN IN HIS TIME by also including significant lettersby the composer and his associates, as well as criticism and discussions of the works by authorities and fellow composers in the years following Gershwin's death in 1937--extremely important materials, and a must for anyone interested in all of the 20th century's opinions of the composer. GERSHWIN IN HIS TIME remains valuable as a scrapbook of contemporary accounts and color images that present a complete "you-are-there," year-by-year (1919-1937) overview of Gershwin's career and works.

Both informative and enjoyable reading
Having four biographies of George Gershwin (GG) already in my collection, I wondered if something called "The George Gershwin Reader" would be of any value. I needn't have wondered! Reading it cover to cover has been one of the more pleasant tasks I have encountered as a reviewer.

This Oxford University Press book retails for $30. Edited by Robert Wyatt and John Andrew Johnson, it is organized into eight sections: Portraits of the Artist, The Growing Limelight (1919-1924), Fame and Fortune (1924-1930), Maturity (1930-1935, Porgy and Bess, Last Years: Hollywood (1936-1937), Obituaries and Eulogies, and As Time Passes. There are 83 reading selections in all. Some are contemporary reports, essays, letters, biographies; some are backward looks written since the composer's death.

In short, this can be used as a sourcebook for those studying various aspects of Gershwin's life and works (practically the same things) or read for pure enjoyment. My favorite anecdote that so wonderfully reveals the innocent egotism of GG is the story told on pp. 181-182 about a remark he made to composer Harry Ruby and his reaction to being reminded of it two years later. Priceless.

Each selection is introduced by the editors, who give background information about what is to be discussed and the persons involved. There is no dearth of negative criticism about GG's "classical" compositions; and they have even included one which states that Gershwin could not have written the music attributed to him. (The implication is that no Jewish composer could have done that well, a strong echo of Wagner's identical claim, and then contradicted by the writer's claiming the music is bad anyway!)

This OUP book is the very model of what a "reader" should be-and teachers and students of the history of American music, I will be making great use of the information therein.

Need I add, Highly Recommended? ... Read more

Product Description
The many moods of George Gershwin are featured in this volume which includes classic ballads like the Man I Love * That Certain Feeling plus favorites like It Ain't Necessarily So * 'S Wonderful * Fascinating Rhythm * High Hat and many more. 216 pages in all. ... Read more

Customer Reviews (1)

An excellent compilation of Gershwin songs
This is a great book for vocalists, pianists and song lovers alike.Included in this volume are some of the most beloved American songs in their repertoire.Songs from operas, jazz standards and love ballads, as well as those American standards provide a wide range of studies and enjoyment for all levels of musicians.

I assume that the font used in this book was used with the idea of making it relate to the 1930 era when the Gershwins were composing.But it really only succeeds in making the song titles difficult to read.

A complete list of songs:
Aren't You Kind Of Glad We Did?
The Babbit and the Bromide
Bess, You Is My Woman Now
Bidin' My Time
Blah, Blah, Blah
But Not For Me
By Strauss
Clap Yo' Hands
Delishious
Do, Do, Do
Do It Again
Embraceable You
Fascinating Rhythm
Fidgety Feet
A Foggy Day
For You, For Me, Forevermore
Funny Face
He Loves And She Loves
High Hat
How Long Has This Been Going On?
I Got Plenty O' Nuttin
I Got Rhythm
I'll Build A Stairway to Paradise
Isn't It A Pitty?
It Ain't Necessarily So
I've Got A Crush On You
Let's Call The Whole Thing Off
Let's Kiss And Make Up
Liza
Looking For A Boy
Love Is Here To Stay
Love Is Sweeping The Country
Love Walked In
The Man I Love
Maybe
Mine
My One And Only (What Am I Gonna Do)
Nice Work If You Can Get It
Of Thee I Sing (Baby)
Oh, Lady Be Good
'S Wonderful
Somebody Loves Me
Someone To Watch Over Me
Soon
Strike Up The Band
Swanee
Sweet and Low-Down
That Certain Feeling
They All Laughed
They Can't Take That Away From Me
Who Cares?
You've Got What Gets Me ... Read more

Product Description
Second of a two-volume series presenting highlights from the careers of George and Ira Gershwin. Volume two documents 50 songs from shows such as ""Porgy & Bess"" and Hollywood films like ""Shall We Dance."" Includes a song-by-song essay plus rare images of original sheet music and family photos.

Titles: A Foggy Day
* Blah, Blah, Blah
* Changing My Tune
* Fun to Be Fooled
* Gotta Have Me Go with You
* I Got Plenty O' Nuttin'
* Isn't It a Pity
* Just Another Rhumba
* Let's Call the Whole Thing Off
* My Ship
* Nice Work If You Can Get It
* Of Thee I Sing (Baby)!
* Shall We Dance
* Summertime
* They All Laughed
* They Can't Take That Away from Me
* Things Are Looking Up
* Wintergreen for President
* You've Got What Gets Me and many more. ... Read more

Product Description
This book assembles 46 essential classics from the pens of George and Ira Gershwin, arranged for piano/vocal. Titles: Bess, You Is My Woman
* But Not for Me
* I Can't Get Started
* I've Got a Crush on You
* Let's Call the Whole Thing Off
* Long Ago (and Far Away)
* The Man I Love
* The Man That Got Away
* My Ship
* Oh, Lady Be Good
* Rhapsody in Blue
* Someone to Watch Over Me
* Strike Up the Band
* Summertime
* They All Laughed
* They Can't Take That Away from Me
* Tschaikowsky (and Other Russians)
* and many more. ... Read more

Product Description
It s 1924, and with just a few weeks notice, George Gershwin has been asked to compose a new concerto that exemplifies American music. In his search for a new melody, Gershwin realizes that American music is much like its people: a great melting pot of sounds, rhythms, and harmonies. JoAnn Kitchel s illustrations capture the 1920 s in all their art-deco majesty. Includes a CD of Rhapsody in Blue performed by George Gershwin (1925 piano roll) and the Columbia Jazz Band, conducted by Michael Tilson Thomas. Recommended in Laura Berquist First Grade SyllabusAuthor: Anna Harwell CelenzaIllustrated by: JoAnn E. KitchelFormat: CD and 32-pages hardcover bookPublisher: CharlesbridgeISBN: 1570915563 ... Read more

Customer Reviews (8)

No CD
The product description, at the time I ordered it, said it came with the CD.When the book arrived, the mailing label which came directly from McKenzie Books,said the CD was included.The CD was not included.Customer service was rude, would not give me contact information for a supervisor, but I am able to return the book.I will believe I get a refund when see it.

Getting into Gershwin
This was a wonderful book. My girls (6 & 8)have played the included CD over and over again. A favorite part is when Gershwin waves his hands in the air and say, "I can't do it!" A great resource to introduce music to kids.

Great Book!
This is a great book. It comes with a CD which is wonderful. I am very pleased to have it.I teach elementary music and it is great for my library in my classroom.

Great book for children and music-lovers
This is another evocative and personal book by Ms. Celenza, who has a gift for building a story that appeals to young readers.

This book definitely *does* come with a CD - it is inside the back cover.Perhaps the other reviewer who didn't get a CD was expecting a separate CD case?Regardless, it's a nice combination.

Rhapsody in Blue
Very nicely done...excellent for classroom use to teach the history and
circumstances surrounding the composition of the tune. I would use it in
conjunction with a unit on Tin Pan Alley or Gershwin, or music of the times.Great gift for aspiring pianists! ... Read more

Product Description
Contains 29 of Gershwin's greatest compositions including: I Got Rhythm * Rhapsody in Blue * Of Thee I Sing * 'S Wonderful and others. Plus a biographical sketch and chronology, a complete discography and photos. A beautiful book. ... Read more

Customer Reviews (3)

You'll LOVE this book!
If you like Gershwin's music, you'll love this book!It has some of his best classical piano music as well as some of his vocal tunes, complete with vocal score and accompaniment.This book provides real pictures of Gershwin and interesting information on many of his songs.These are real classical/pop/jazz cross-over tunes and a fun book!

My mother purchased this book for me many years ago, and it is still in print!My students love it!This is a GREAT price for a book such as this.

Fabulous collection
This is a truly wonderful collection for everyone from beginner to advanced musician.It contains many of Gershwins popular works, but also the full score of Rhapsody in Blue.I recommend this collection to all wanting to learn about the great master and his music, regardless of your current level of play.

Good Bargain
This is a very nice and varied collection of Gershwin's music. However, the newness of the book makes it impossible to just set on the piano and play without wrestling for a few minutes to keep the pages open. ... Read more

Product Description
George and Ira Gershwin wrote many of the best-known Broadway standards of our time. This book focuses on some of their best comedic work, which helped to define the characters as well as the story lines of many of their greatest shows. Titles include: The Babbitt and the Bromide * Could You Use Me * I Won't Say I Will, but I Won't Say I Won't * I'm a Poached Egg * Just Another Rhumba * Mischa, Jascha, Tascha, Sascha * Stiff Upper Lip * Union Square and many more. ... Read more

Customer Reviews (1)

Presentation versus content
The songs in this slender volume are delightful but the binding is so poor that after only a few weeks of use many pages have become completely detached. ... Read more