An Introduction to America’s Music

CHAPTER 13 | GEORGE GERSHWIN 321

for modernism in the classical sphere—Rhapsody in Blue has come to be reckoned

both an American classic and a piece emblematic of its time.

Working hurriedly—accounts vary, but at the most Gershwin had only a cou-

ple of months from commission to performance—the composer envisioned a

single-movement piece that would feature his own piano playing. The title, sug-

gested by his brother and songwriting partner, Ira, is a playful reference not only

to the blues but also to the painter James W histler, who gave his canvases musical

titles like Symphony in White. Following standard practice on Broadway, but

certainly not in the classical sphere, Gershwin wrote out the orchestra’s music

for two pianos, then passed it on to W hiteman’s leading staff arranger, Ferde

title

CD 2.15 Listening Guide 13.2 Rhapsody in Blue GEORGE GERSHWIN

timing section theme comments

7:28^ Ends inconclusively, as piano states the rhythmic

motive in a falling sequence over an agitated,

syncopated accompaniment.

7:41 Transition: Piano cadenza (heavily cut for the

recording) leads directly into the fi nal section.

7:53 fi nale Love Trombones, then all the brass, play theme,

transformed into an energetic call to action. The

music builds in intensity, climaxing in a dissonant

scream.

8:21 Tag The piano’s opening music (from 0:48) returns,

now very agitated.

8:41 Stride Piano’s fi nal solo moment, an emphatic return of

the Stride theme.

8:48 Ritornello A grandiose return of the very opening, played

by the full band at top volume. As the fi nal chord

grows in volume, the piano concludes with the

bluesy Tag.

note This recording cuts the work in order to fi t on two sides of a twelve-inch 78-rpm record. In this

listening guide, the names of sections and themes do not come from the composer but are borrowed

from the analysis in David Schiff, Gershwin: Rhapsody in Blue (1997).

Listen & Refl ect

1. In what ways does this performance of Rhapsody in Blue resemble jazz records from the
   1920s, such as Ellington’s Black and Tan Fantasy (see LG 12.5)? In what ways does it
   resemble classical music?


2. Listen to any recording of the symphonic version of Rhapsody in Blue (i.e., with Grofé’s
   later orchestration). How do changes in the orchestration affect the piece’s overall impres-
   sion? Compare the performance style of Gershwin and Whiteman’s band to the perform-
   ers on the more recent recording. What differences can you hear?

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