4 edition of George Gershwins Concerto in F found in the catalog.
Originally presented as authors dissertation (doctoral)--Universität, Karlsruhe, 2007.Includes bibliographical references (p. 457-480) and discography (p. 481-483)
|The Physical Object|
|Pagination||xvi, 74 p. :|
|Number of Pages||56|
|2||Karlsruher Beiträge zur Musikwissenschaft -- Bd. 10|
nodata File Size: 5MB.
After the climax, Gershwin combines Charleston, pentatonic melody and fast-paced triplets to from one key to another before reintroducing another sultry variation in D-Flat major. I have her Brahms recordings and find her sense of expression, control of dynamics, and most importantly, warmth, unmatched by any other at the instrument. After an extended orchestral introduction, the piano enters with a solo section, introducing another melody found throughout the movement.
He began the two-piano score on July 22, after returning from a trip toand the original drafts were entitled "New York Concerto". " It was performed first in December, 1925, with Gershwin at the piano and Mr. She is a good deal more Rachmaninov than jazz baby, and it works because her charisma is so potent. A blues chord progression opens the movement, and a solo trumpet plays the first blues theme.
The Concerto in F came at a propitious time.
Gershwin clearly viewed himself not as a modernist but as a traditionalist. What really impresses me about their Gershwin account is that Grimaud and Zinman are so successful where the composer probably wasn't. Customer Reviews: There's a delightful sense of ebullience about this CD, which pairs two works that straddle the fence between jazz and classical.
From here, the music alternates with contrasting sections of grandiosity and delicacy.
if you've ever listened to this great American composition, and listened closely to each note, each instrument's role, you would be fascinated by the depth of sonic layering that inhabited George Gershwin's mind.
Far more revealing is a well-worn disc of the last third of the andante beginning with the piano solo following rehearsal number 9 , this time on his own April 7, 1935 radio show and presumably with his own orchestra that builds to a thrilling climax.
A 2003 filming on DVD features the Marcus Roberts Trio with Seiji Ozawa conducting the Berliner Philharmoniker at Waldbuhne, Berlin.
… He only feels he has something to say and he says it.
Zinman and his orchestra outshine Grimaud-- partially Gerswhin's "fault" since his orchestration is so damn coloristic and exciting.