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Gershwin piano concerto in f imslp4/8/2023 ![]() ![]() One hears over and over again how, while Gershwin may have been a genius, he did not know how to compose long works, that there are structural weaknesses, and that much of what he does is slop work to get to his next big theme. GERSHWIN PIANO CONCERTO IN F IMSLP HOW TO If you expect a classical concerto or something like the Brahms, don't hold your breath. The major weakness of Gershwin is not that the movements don't cohere, but that it's difficult to shape a movement. A conductor must design the builds, climaxes, and falls-away, since Gershwin doesn't give much help. It is difficult to pick out his transitions, since, like Brahms, his transitions comprise bits of themes. Incidentally, one has much the same problem in a work like Brahms' Symphony No. We judge the worth of a Brahms conductor by how well he shapes things. ![]() Curiously, very few people have made Gershwin conductors adhere to the same standard. This listener's roadmap will show you how Gershwin put together one of his finest works, strangely neglected on record. One rarely finds even a good performance. Earl Wild and Arthur Fiedler turn in a barn-burner on RCA 6519-2-RG. Oscar Levant and André Kostelanetz did a fine version on Sony MPK 47681, but the sound is 'historical,' and you lose much detail in the orchestra. Some of Gershwin's finest and most subtle effects lie in subsidiary orchestral lines. Philippe Entremont and Eugene Ormandy had a decent account on Sony SBK 46338. GERSHWIN PIANO CONCERTO IN F IMSLP HOW TO. ![]()
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