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- George Gershwin: Bess, You Is My Woman Now | Presto Sheet Music
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Catfish Row is scored for two flutes the second doubling piccolo , two oboes the second doubling English horn , four clarinets in B-Flat the fourth doubling bass clarinet in B-Flat , one bassoon , three French horns in F, three trumpets in B-Flat, two trombones , one tuba ; a percussion section that includes timpani , drum set , xylophone , cymbals , snare drum , bass drum , tubular bells , tom-tom, wood block, suspended cymbal, glockenspiel and triangle; one piano ; one banjo and strings .
Gershwin conducted all of the ensuing performances before his death in , and many scholars have pronounced it unperformed and virtually forgotten until its March rediscovery by Ira Gershwin 's secretary, Lawrence D. In , Ira Gershwin decided to re-title the work "Catfish Row" to distinguish it from Robert Russell Bennett's medley, though its first recording, by the Utah Symphony, nonetheless used the original title.
On September 22, , it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan , are working to make scores available to the public that represent Gershwin's true intent.
The entire Gershwin project may take 30 to 40 years to complete.
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George Gershwin: Bess, You Is My Woman Now | Presto Sheet Music
Percussion Handbells. However; we are concerned not merely with the young Gershwin whose "Concerto In F" was such a memorable contribution to American music, but with the still younger Gershwin who cut piano rolls in the same shop as James P. Johnson, the old master of Harlem piano, and with the composer who later on listened to Bessie Smith and the blues.
At the time the "Rhapsody In Blue" was orchestrated, jazz orchestral writing as we know it today was unheard of. Gershwin himself did not orchestrate it, being unskilled in that sphere, but perhaps this was not so much of a lack as he himself thought at the time. The classically trained men of those days-even those hardy souls who were willing-were quite unable to interpret jazz scores. Jazzmen, on the other hand, were usually incapable of symphonic reading of professional calibre. Nowadays, many men have equal facility in both fields.
Yet in the present decade, jazz orchestration remains more than ever a special field. Porhaps this is why it seems to find expression best, as a rule, through its own writers. In a recent conversation, Gil mentioned Miles' beautifully deliberate-controlled, yet suspenseful-rhythmic style on slow tempos, reminding me of Bill Russo's statement in The New Yearbook of Jazz Horizon that "the melodic curve, the organic structure, and the continuity of a Miles Davis solo..
Nigel Kennedy: Bach Meets Gershwin review – rip-roaring and exquisitely tender
Though hecan particularize with regard to the innumerable facets of orchestral writing, Gil thinks of the music in its entirety, as a painter thinks of a canvas. Indeed, when he speaks of depth or density of sound, impingement of instrumental tone, the dynamics of structure and the particular require ments of each theme, the resemblance to descriptions of pictorial art is striking. And when one recalls Picasso's dictum that a painting is alive, the parallel is completed.
Gil first met Miles when the latter was playing with Charlie Parker on 52nd Street and their respect for each other, often expressed in print, is testified to in the excellence of their collaborative efforts such as Miles Ahead "I think a movement in jazz is begin ning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variations;' Miles told Nat Hentoff in a recent interview The Jazz Review December, He also made this interesting statement, "When Gil wrote the arrangement of "I Loves You, Porgy;' he only wrote a scale for me to play.
No chords. And that other passage with just two chords gives you a lot more freedom and space to hear things? In these days of stepped-up jazz production, the good things, like the good men, are still a rarity. Especially so are deeply moving performances such as these that seem infused with an inner fire that cannot be simulated.
Miles' beauty and variety of tone, his versatile manipulation of horns, is put to excellent use here as he-with the orchestral projections of Gil's arrangements-produces incomparable renderings of Porgy And Bess.