By Gershwin, George; Gershwin, George; Gershwin, George; Pollack, Howard
Pollack’s energetic narrative describes Gershwin’s relations, formative years, and schooling; his early occupation as a pianist; his friendships and romantic lifestyles; his relation to numerous musical developments; his writings on tune; his operating tools; and his tragic dying on the age of 38. in contrast to Kern, Berlin, and Porter, who commonly labored in the confines of Broadway and Hollywood, Gershwin actively sought to go the bounds among low and high, and wrote works that crossed over right into a realm the place artwork song, jazz, and Broadway met and merged. the writer surveys Gershwin’s whole oeuvre, from his first surviving compositions to the melodies that his brother and critical collaborator, Ira Gershwin, lyricized after his loss of life. Pollack concludes with an exploration of the performances and important reception of Gershwin's tune through the years, from his time to ours.
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Extra resources for George Gershwin : his life and work
N. ” George and Ira had known the vivacious and attractive “Lee” for some years; she was the sister of one of George’s dearest friends, Emily Paley (1897–1990), at whose 1920 wedding she and Ira ﬁrst met. Born in San Francisco to a Jewish family of Russian heritage, Emily and Leonore relocated to New York with their parents, Albert and Mascha Strunsky, after the 1906 earthquake. “Papa” Strunsky, who acquired a fair amount of Greenwich Village property, became known for his charitable behavior on behalf of artists unable to pay rent (he’s depicted with other local notables on a mural in Manhattan’s Christopher Street subway station).
33 Gershwin even evidenced some attraction to academic life in a 1930 letter to Rosamund Walling, a young friend then at Swarthmore: “The picture you painted of college life (your college life) in your last letter seemed so wonderful that I shall never misunderstand you[r] preference for that life to all others. The books you read, the fact you could walk the woods alone and think, the fact that you were very happy doing it made me realize how attractive it really was. None of the sordidness of the outside world.
At the least, Gershwin, who developed a superb piano technique, credited Hambitzer with teaching him to play with a ﬂexible wrist. Recalled Mabel Schirmer: “He [Hambitzer] was an extraordinary teacher, unlike any I had ever had before. . He had two pianos in his studio on the ground ﬂoor of a building, I think, but I’m not sure, on 125th Street, near or on Central Park West. He was not a typical teacher who sat at your side while you played. On his piano he would demonstrate the piece . . then you would take it home and learn it.