George Gershwin claimed that he conceived the ‘metropolitan madness’ of Rhapsody in Blue ‘on a train, with its steely rhythms, its rattle-ty bang.’ That same raw rhythmic inspiration was at the heart of our recent period-orchestra rendition at the WCFSO with pianist Genadi Zagor. The image by Gary Kelley is one of a series commissioned for this concert and shown in a narrative video piece alongside the performance.
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This weekend the WCFSO will perform the 1920s theater orchestra version of George Gershwin’s Rhapsody in Blue, on a special concert tracing the paths that African American musics have taken into the concert hall. But the influence of Gershwin’s own compositions on subsequent generations of musicians of all ethnic and aesthetic backgrounds is also striking to behold. If you have any doubt as to the composer’s massive influence in American musical culture, check out just how many artists trace their musical roots back to him:
Ever since I first came across the unforgettable clarinet wail that opens Rhapsody – and even more so after playing and conducting the piece a few times since then – I’ve been intoxicated by the uniquely American blend of infectious rhythm and multicultural reference that pervades Gershwin’s music. Clearly I’m not the only conductor who feels this way:
The always diverting and discerning Stephen Fry speaks on the history of copyright, and offers thoughts on file sharing and the future of entertainment. [Download this talk or subscribe to Fry’s Podgrams series here.]
Gustav Mahler, writing to his wife Alma in October 1904 after an early rehearsal of his Fifth Symphony, described the Scherzo as ‘this primeval music, this foaming, roaring, raging sea of sound, these dancing stars, these breathtaking, iridescent and flashing breakers.’ Now one more item can be added to Mahler’s list - this cellphone ringtone!
The final sounding in my series of posts leading up to tomorrow’s WCFSO performance of Gustav Mahler’s Fifth Symphony comes from the man himself. On November 9, 1905 Mahler visited the Welte & Sohne studios in Leipzig and recorded several piano rolls of his own music using the Welte-Mignon system; the rolls from that day are the only audio documentation of Mahler’s approach as a performer. Here is the most substantial and fascinating performance from that session a century ago - the entire first movement of his Fifth Symphony:
Mahler – Symphony no 5, Trauermarsch - mp3 Gustav Mahler, piano from Mahler Plays Mahler
