Label: Adventure Classic - 93139 • Format: CD Compilation • Country: Switzerland • Genre: Classical • Style: Neo-Romantic
An American in Paris is a jazz-influenced orchestral piece by American composer George Gershwin first performed in It was inspired by the time that Gershwin had spent in Paris and evokes the sights and energy of the French capital in the s. Walter Damrosch had asked Gershwin to write a full concerto following the success of Rhapsody in Blue He brought back four Parisian taxi horns for the New York premiere of the composition, which took place on December 13,in Carnegie Hallwith Damrosch conducting the New York Philharmonic.
Although the story is likely apocryphal,  Gershwin is said to have been attracted by Maurice Ravel 's unusual chords, and Gershwin went on his first trip to Paris in ready to study with Ravel. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he could not teach him, saying, "Why be a second-rate Ravel when you can be a first-rate Gershwin?
Gershwin called it "a rhapsodic ballet"; it is written freely and in a much more modern idiom than his prior works. Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitza pianist Ravel had met during the war, to urge Ravel to tour the U.
Yet after playing for her, she told him she could not teach him. Nadia Boulanger gave Gershwin basically the same advice she gave all of her accomplished master students: "What could I give you that you haven't already got? Paris at this time hosted many expatriate writers, among them Ezra PoundW. YeatsErnest Hemingway ; and artist Pablo Picasso. Gershwin based An American in Paris on a melodic fragment called "Very Parisienne", written in on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer.
He described the piece as a "rhapsodic ballet" because it was written freely and is more modern than his previous works. Gershwin explained in Musical America"My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French An American In Paris - George Gershwin - George Gershwin (1898 - 1937) . The piece is structured into five sections, which culminate in a loose ABA format.
Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" Whos Got The Bounce - Детский Панадолл - AM follows continues to express homesickness in a faster twelve-bar blues.
In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final "Grandioso". An American in Paris is scored for 3 flutes 3rd doubling on piccolo2 oboesEnglish horn2 clarinets in B-flatbass clarinet in B-flat, 2 bassoonscontrabassoon4 horns in F, 3 trumpets in B-flat, 3 trombonestubatimpanisnare drumbass drumtriangleBeast Of Damnation - Beherit - Werewolf, Semen And Blood blockratchetcymbalslow and high tom-tomsxylophoneglockenspielcelesta4 taxi horns labeled as A, B, C and D with circles around them, alto saxophonetenor saxophonebaritone saxophoneall saxophones doubling soprano saxophones and strings.
The revised edition by F. Campbell-Watson calls for three saxophones, alto, tenor and baritone. In this arrangement the soprano and alto doublings have been rewritten to avoid changing instruments. The contrabassoon is deleted. InGershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in F. William An American In Paris - George Gershwin - George Gershwin (1898 - 1937) arranged the score for piano solo which was published by New World Music in Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of An American in Paris.
He stated that Damrosch's sluggish, An American In Paris - George Gershwin - George Gershwin (1898 - 1937) tempo caused him to walk out of the hall An American In Paris - George Gershwin - George Gershwin (1898 - 1937) a matinee performance of this work.
The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses. Gershwin responded to the critics, "It's not a Beethoven Symphony, you know It's a humorous piece, nothing solemn about it. It's not intended to draw tears. Mama Blues - William Mc Coy* - Mama Blues / Train Imitations And The Fox Chase (Shellac) it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.
On September 22,it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michiganare working to make scores available to the public that represent Gershwin's true intent. It is unknown if the critical score will include the four minutes of material Gershwin later deleted from the work such as the restatement of the blues theme after the faster 12 bar blues sectionor if the score will document changes in the orchestration during Gershwin's composition process.
The score to An American in Paris is currently scheduled to be issued first in a series of scores to be released. The entire project may take 30 to 40 years to complete, but An American in Paris will be an early volume in the series. Two urtext editions of the work were published by the German publisher B-Note Music in The changes made by Campbell-Watson have been withdrawn in both editions. In the extended urtext, bars of music have been re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance.
An American in Paris has been frequently recorded. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording.
This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A-flat, B-flat, a higher D and a lower A. The Seattle Symphony also recorded a version in of Gershwin's original score, before he made numerous edits resulting in the score as we hear it today. From Wikipedia, the free encyclopedia. This article is about the George Gershwin music.
For other uses, see An American in Paris disambiguation. Themes from An American in Paris. Archived from the original PDF on March 4, Retrieved April 6, The Kennedy Center. Retrieved December 5, George Scream Like A Baby - David Bowie - Scary Monsters His Life and Music.
The Atlantic. Retrieved December 11, Gershwin Enterprises. Stewart Da Capo Press. Bolero: the life of Maurice Ravel. New York, H. Holt and Company. Chicago Symphony Orchestra. Nadia Boulanger. Pendragon Press. George Gershwin: His Life and Work. University of California Press.
Doctoral Thesis. New York Philharmonic Archives. Archived from the original on September 4, Retrieved September 4, The New York Times. March 5, Retrieved June 28, La Jolla Music Society. September 14, September 8, September 17, Archived from the original on December 15, Retrieved December 14, May 19, Retrieved September 8, George Gershwin.
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