Translation: Bess , you is my woman now.
Alfred Publishing Co.. Violin 2.
In the s, George Gershwin had an ambition to compose an American opera. We welcome suggested improvements to any of our articles. The melodies that are repeated and embellished throughout the work, however, are never subject to alteration—the antithesis of the jazz philosophy that regards melody as a mere loose outline for imaginative decoration. George Gershwin's Porgy and Bess bears the odd distinction of being both the Gershwin had written the scores for the , and annual editions of the. The work received a modest reception, possibly because audiences could not decide what it was too profound for Broadway, too popular for the Met. For Piano solo. Back Rentals.
Sheet music. Porgy and Bess. For 2 Pianos. Act II. Translation: Arrangements and Transcriptions. Gershwin, George.
For Piano solo. Translation: For Piano only. Arrangements and Transcriptions. Translation: original piano.
Bess , you is my woman now — —. Although his family and friends were not musically inclined, Gershwin developed an early interest in music through his exposure to the popular and classical compositions he heard at school and in penny arcades.
He studied piano with the noted instructor Charles Hambitzer, who introduced his young student to the works of the great classical composers. After dropping out of school at age 15, Gershwin earned an income by making piano rolls for player pianos and by playing in New York nightclubs.
His most important job in this period was his stint as a song plugger probably the youngest in Tin Pan Alley , demonstrating sheet music for the Jerome Remick music-publishing company. In an era when sheet-music sales determined the popularity of a song, song pluggers such as Gershwin worked long hours pounding out tunes on the piano for potential customers. While still in his teens, Gershwin was known as one of the most talented pianists in the New York area and worked as an accompanist for popular singers and as a rehearsal pianist for Broadway musicals.
During the next few years, Gershwin contributed songs to various Broadway shows and revues. This work, Blue Monday later reworked and retitled as th Street , was poorly received and was removed from the show after one performance. Bandleader Paul Whiteman, who had conducted the pit orchestra for the show, was nevertheless impressed by the piece.
Legend has it that Gershwin forgot about the request until early January , when he read a newspaper article announcing that the Whiteman concert on February 12 would feature a major new Gershwin composition. Owing to the haste in which it was written, Rhapsody in Blue was somewhat unfinished at its premiere.
Gershwin improvised much of the piano solo during the performance, and conductor Whiteman had to rely on a nod from Gershwin to cue the orchestra at the end of the solo. Nevertheless, the piece was a resounding success and brought Gershwin worldwide fame. Back in the States for the s, Gershwin and his brother Ira secured their place as one of most famous song-writing teams on Broadway. There was no Pulitzer for music in , so the prize went to Ira and two other writers.
In , his birth centennial, George received a posthumous Pulitzer for lifetime achievement, accepted by his sister Frances. Their songs began to appear in motion pictures, including the films Shall We Dance and A Damsel in Distress, and their West Coast residence became a significant social and musical center, including weekly tennis matches with Arnold Schoenberg.
The work received a modest reception, possibly because audiences could not decide what it was too profound for Broadway, too popular for the Met.
Gershwin himself, however, was very proud of Porgy and Bess. Early in , Gershwin experienced neurological symptoms — excruciating headaches and the sense he was smelling burnt rubber — of the brain tumor that would take his life that July. The loss of such a talent, particularly as he was turning to more ambitious projects, left the musical world wondering what Gershwin might have achieved. Wilfrid Sheed puts it this way:.
The two sides of George were exquisitely mixed and played into each other constantly. Every great concert work of his would be followed by a volley of new and better songs, clearly based on the same inspirations that gave him the longer work.