Theobaldo Gatti (ca.1650–1727)
Scyllais in FO,v.23.
Pierre Gaveaux (1760–1825)
Léonore, ou l’amour conjugalis in FO,v.75.
George Gershwin (1898–1937)
Porgy and Bessis in ASO 103 (1987).
- Rimler, Walter. A Gershwin Companion: A Critical Inventory & Discography,
1916–1984. Ann Arbor, Mich.: Popular Culture, Ink, 1991. xiv, 488p. ISBN
1-560-75019-7. ML134 .G29 R5.
A useful worklist, presenting all published and unpublished compositions by
Gershwin in order of publication date. Information includes pre-CD discogra-
phies. Index of names and titles, another of recording artists. - Gilbert, Steven E. The Music of Gershwin. New Haven, Conn.: Yale U.P.,
- xi, 255p. ISBN 0-300-06233-8. ML410 .G28 G46.
A useful technical study of the major works, in the context of Joseph
Schillinger’s composition method. Porgy and Bess has p.182–207. Tonal
design is explored (the opera is in E major/minor). Backnotes, extended musi-
cal examples, bibliography of about 60 entries, expansive index. - Alpert, Hollis. The Life and Times of “Porgy and Bess”: The Story of an
American Classic. New York: Knopf, 1990. 354p. ISBN 0-39458339-6.
ML410 .G268 A68.
A popular-style genesis-and-reception study, of interest for its coverage of
European performances and the movie version. Undocumented quotations
and invented scenarios detract from credibility. Bibliography of about 60
entries, expansive index. - Starr, Lawrence. “Toward a Reevaluation of Gershwin’s Porgy and Bess.”
American Music2–2 (Summer 1984): 25–37.
Answers various criticisms that have been leveled at the opera. Says the por-
trayal of black people is not condescending but authentic for its period. Pre-
pares a formal plan for the work, with tonal structure and motifs (for those
who said it was formless), and defends the effectiveness of the recitatives, not-
ing that they should be sung lyrically instead of parlando—close to arioso. - Johnson, John Andrew. “Gershwin’s American Folk Opera: The Genesis, Style,
and Reputation of Porgy and Bess.” Ph.D. diss., Harvard U., 1996. 915p. - Hamm, Charles. “The Theatre Guild Production ofPorgy and Bess.” JAMS
40–3 (Fall 1987): 495–532.
Reviews the performances and recordings that have claimed to present the
complete opera, finding them all defective. Goes back to the 1935 Theatre
Guild production with Gershwin involved, to find the authentic version. Exam-
ines Gershwin’s original scores and compares them to various performances,
George Gershwin 171