Where Gershwin left blanks or
few indications, necessary editing had been made. However, in over sixty-five
measures, Gershwin's own phrasing, chords, notes, dynamic and other interpretive
clues had been altered! Grofe's orchestration of Gershwin's manuscript had not
been shortened, and Grofe had not personally made any deletions from Gershwin's
piano manuscript. “The final result of Harms decision to shorten the Rhapsody
was a fragmented and truncated work, lending confidence to the structurally
flawed judgment of the work by Gershwin's critics”. The originally published
Rhapsody was now approximately twelve to fourteen minutes in length, but in
Gershwin's original performances it was at eighteen minutes even with his
quickly paced tempo. In view of all this it was timely to produce a new edition
of the “Rhapsody in Blue” which brings it closer to Gershwin's original notation
and intent. This new publication allows a clearer understanding of a style of
piano playing that was born with him. What to jazz pianists comes so easily,
although with restricted technique, is difficult to comprehend by many classical
pianists who have used traditional approaches to the interpretation of this
piece. In the revised “Rhapsody in Blue”, all of Gershwin's notations have been
restored according to the original Gershwin and Grofe manuscripts. “New editing
was applied to those sections which were blank and/or in which no indications
were given by the composer or Grofe. All pedaling and fingering is suggested and
up to the individual pianist except where the sostenuto pedal is called for.” In
adapting the orchestra part to the piano as indicated in the manuscripts,
certain editorial changes were necessary while, however, leaving Gershwin's
chords and phrasing intact. Where feasible, Gershwin's dynamics and phrases have
been footnoted. None of them have been altered or deleted in this edition, and
all missing measures have been re-inserted in their original form.
“With the restoration of the “Rhapsody in Blue” to its original state,
a masterwork emerges, unflawed and tightly woven. Its early 20th Century
innocence and brilliant musical statements weave in and out of the performers
and listeners souls as it brings us back to an America which was building its
very own Stairway to Paradise!” George’s life met a short and tragic end. What
started as simple headaches became more serious and chronic. When George started
to forget portions of his compositions while performing his friends and family
encouraged him to see a physician. Doctors informed him that he had a brain
tumor and suggested emergency surgery. Doctors who specialized in this form of
cancer surgery were to be flown in to California to perform a potentially life
threatening procedure. Unfortunately, George did not survive the surgery and
died on July 11, 1937 in Hollywood. After George’s death, his brother shared a
great deal of his works with young up and coming musicians. In fact, George’s
music was eventually played on mainstream media. Commercials feature George’s
music regularly. United Airlines used “Rhapsody in Blue” for years as its theme
song. H&R Block recently encouraged their clients to think of their services as
“Someone to Watch Over Me.” Visa got into the latest fray by using “I Got
Rhythm” to inform the public that the Tony awards don’t take another credit
card. “Commercials aren’t the only place to hear George’s music. Motion pictures
still use George’s music as staples to their themes and plots. In Mr. Holland’s
Opus, a young student sings the love ballad “Someone to Watch Over Me” while her
mentor, whose efforts to glide the beautiful girl border into feelings of love
and compassion, conducts her performance. “When Harry Met Sally” featured
numerous Gershwin songs, including “Let’s Call the Whole Thing Off”. George
became one of America’s first premier composes and his compositions are still
used today as tools for teachers everywhere. His jazz derived techniques, and
melodies known as “blues” notes helped shape modern music.
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