On this occasion, he gave the world premiere of his Preludes for the piano. Gershwin participated, not only by accompanying her in his songs, but also by appearing as piano soloist. On December 4, 1926, at the Hotel Roosevelt in New York, Marguerite d’Alvarez, the operatic contralto, gave a serious song recital that included French and Spanish art songs. Gershwin has explained that the reason it took so long for the song to be appreciated is that the melody of the chorus, with its chromatic pitfalls, was not easy to catch also, when caught, it was not easy to sing or whistle or hum without a piano accompaniment. Then singers and orchestras took it up until its acceptance in this country became complete. American visitors to London and Paris heard the song and, returning home, asked for it. It became such a success that-though no printed copies were available in England-it was picked up by many other jazz groups in Paris, where it also caught on. When she returned to London, Lady Mountbatten arranged for the Berkeley Square Orchestra to introduce the song there. Another admirer was Lady Louis Mountbatten, to whom Gershwin presented an autographed copy in New York. Kahn liked the song so much that he decided to invest $10,000 in the musical. Kahn, to whom Gershwin played it when he planned using it for Lady Be Good. Once again it was tried out of town, was found wanting, and was deleted.īut the song found admirers. In 1927, Gershwin removed the song from his shelf and incorporated it into the score he was then writing for Strike Up the Band (first version). Vinton Freedley insisted that it be dropped from the show, and Gershwin consented. In that setting the song missed aim completely it was too static. “The Man I Love” was sung by Adele Astaire in the opening scene of the Philadelphia tryout of Lady Be Good. In rewriting his song, Gershwin now used the verse as the chorus, and prefaced it with a simple but appealing introductory tune. The chorus as it is known today originated as the verse for another song but Gershwin soon realized that the individual melody consisted of a six-note blues progression that reappeared through with cumulative effect, achieving poignancy through the contrapuntal background of a descending chromatic scale. But before it finally achieved recognition it had an eventful history. It has since become one of the Gershwin song classics, and the one song he often considered his greatest. The best song Gershwin wrote for Lady Be Good was not in the show when it opened in New York. The irresistible appeal the repeated triplets in the title song, the kinesthetic effect of the changing meters in “Fascinatin’ Rhythm”-all this represented a new sophistication in popular music. Never before had he brought such a wealth of original invention to his stage music. Gershwin’s music was the principal attraction of this gay musical. Cast as a brother-and-sister dancing act who had come upon unhappy days. It opened on December 1, 1924, the first musical produced by the new team of Aarons and Freedley, who were to be associated with so many Gershwin musicals. Lady Be Good was Gershwin’s first major musical-comedy success. “Somebody Loves Me” was one of Gershwin’s greatest hits after “Swanee.” The nebulous harmony was also a part of the song’s charm. Gershwin’s way of suddenly interpolating a flatted third in the melody here personalized his writing. Its appeal is primarily melodic, for in this song Gershwin tapped the rich, full-blooded lyricism that henceforth would identify his best love songs. This song was unforgettably interpreted by Winnie Lightner in the Scandals of 1924. They can be reached at 74 or online anytime at music of George Gershwin played in this collection by Percy Faith and His Orchestra is discussed here chronologically, to help place it in perspective. Box Office Hours are Monday through Thursday from 7 – 9 p.m. and a candy/cookie reception at 1 on Sunday, Aug. Guests will be treated to a complimentary wine and dessert reception beginning each evening at 7 p.m. Serving as a fundraiser for the community theater program, tickets are $12 for adults and $7 for students. Piano accompaniment will be provided by Jane Crow and Caroline Heading, with Kathy Reid serving as Mistress of Ceremonies. Slated to perform are Ruthie Cameron, Heath Chaney, Debbie Clark, Jon Cotterman, Shelly Lillibridge, Sheila Mayse, Maxine Metheney, Angie Pyle, and Kayela Roberson. 16 at 2 p.m.ĭirected by Nathan Mayse, From Stage to Screen will feature songs from some of the most beloved shows to share both the stage and the silver screen, including Porgy and Bess, Finian’s Rainbow, Mame, Phantom of the Opera, Les Miserables, Hair, Beautiful, and more. COSHOCTON – The Coshocton Footlight Players are presenting From Stage to Screen: A Musical Showcase at the Triple Locks Theater, located at 686 North Whitewoman Street, Coshocton, on Aug.
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