it is not necessary to forget that years "тюё§юцфхэш " the young composer have coincided with the First World War termination, with the beginning "фцрчютющ Іъёярэёшш". Using astrological terminology, it would be possible to tell: "+хЁ°тшэ was born under the badge of ёръёю¶юэр". Jazz rhythms, intonations of Negro songs, the harmonies getting specifically jazz character, gradually filtered into compositions of the majority of authors of entertaining music not because they were excited with folklore problems that is why that it is fashionable.
Differently Gershwin concerned folklore. It was one of the first rather talented musicians who have understood, what riches are concluded in Afro-American music of Negroes.
In vegetable marrows, or, in a local way, "ёрыѕэр§" a Negro ghetto of Harlem it was quite often possible to meet young, attractive appearance of the person with the thin person, behaving with advantage - without arrogance, it is simple - without the familiarity which very attentively was listening attentively not only that sounded from a platform. In these night hours Gershwin was engaged in what, we now would name "¶юыіъыюЁэющ Іъёяхфшчшхщ". He seldom wrote down something. It simply absorbed amazingly talented, temperamental raznogolositsu in which speech and a song absolutely imperceptibly passed each other, perhaps, it in Gershwin's biography there was its major course "ьѕч№ърыіэ№§ ѕэштхЁёш=х=ют". There will pass very few time, and Gershwin "чруютюЁш=" in music on a slang of Negro saloons, and will uplift this original speech peppered by syncopic rhythms to level of high symphonic and opera culture later.
While Gershwin spends many efforts to break through the cordons separating Broadway estradno-theatrical elite from an assembly thirsting to join it.
It, at last, is possible to it. So on the poster of the entertainment enterprise under its name far inappropriate to scales "¦ьярщЁ-КшІ=Ё" the premiere of a musical comedy "¤юыютшэр фхт =юую" on December, 9th, 1918 has taken place;. Defeat was full. All has failed: the play, actors, artists, music. From aggression of critics has escaped only one Sibila Vayne, and that in memory of its last merits on this stage.
In half a year Gershwin writes music to the following comedy "- -ы , -¦ёшыі". This time - with success. "- -ы , -¦ёшыі" - it is so typical for style, a genre, favourite Broadway public that it is necessary to tell short at least se the maintenance. On it as but to the standard, it is possible to judge character of 99% of Broadway production.
Dentist John Smith waits for the inheritance from the aged aunt which days are considered. Has come true. The notary discloses the will and, about horror! - in it the indispensable condition is laid down: Smith should divorce from the wife Ljusil, and only then can come into a fortune. He loves Ljusil whom married against the will of parents. The lawyer advises to Smith to divorce, come into a fortune and then anew to marry same Ljusil.
Such is a drama preamble. Revival in a hall arises and passes in the higher phase when starts to be carried out "яырэ рфтюър=р". John Smith should "чрё=шуэѕ=і" in hotel with any lady and then divorce is provided. Ljusil itself chooses from circle of the girlfriends the candidate in the heroine of night adventure. But when "яюышчш эЁртют" becomes hollow in hotel, she finds out under its hospitable shelter thirty Dzhonov Smitov. There is a commotion flavoured with details, causing Homeric delight of a hall. We repeat: "- -ы , -¦ёшыі" - product the most typical. And music? Music was much. One songs almost more than ten. "Ї has not failed, and it already яюсхфр" - a situation Gershwin soberly estimates.
For fifteen years of work (1918-1933) over "юьѕч№ърыштрэшхь" any comedies, a revue, the reviews making a daily bread of theatres of the Broadway, Gershwin participated in 29 statements as the composer. Its popularity grew from performance to performance. And the first volleys fotoreporterskih lightnings have shined Gershwin's from within shone by happiness of good luck the smiling face, when an idol of the New York platform of El. Dzholson has sung its song "Swanee" (1919). Without exaggerations it is possible to tell: it is Gershwin's first song which was started singing by all America. For one year it has been in great demand sold 2 million plates and one million copies of notes "Swanee". Hardly the sentimental song in beat uanstepa is allocated by that soft, charming character of a melody which reminds the best, become in America classical to Stephen Fostera's song.
For some reason the majority of researchers of creativity of Gershwin has indifferently passed by its first opera. However, it was not monumental, multievent product, and not on a scene the Underground the Opera was issued stages "+Ёѕё=э№щ яюэхфхыіэшъ" an one-act opera lasting less half an hour.
... In pub with slezjashchimisja windows and walls, behind a little table, sticky as a paper from flies, three sit: little girl Vi persistently shaking ashes of a cigarette in whisky, Joe and Volume. They look after Vi and hate each other. Joe rises and, having murmured something inarticulate, goes to an exit. It is a shame to it to tell the truth that it goes to visit mother. Here only the Volume notices, how Vi as, having drained a glass has turned pale, she sees off Joe eyes. The volume carelessly says that Joe has gone on appointment to the darling. When Joe comes back, Vi in an emphasis shoots at it. From dying she learns the truth. "+Ёѕё=э№щ яюэхфхыіэшъ" more known under the name of the second edition "135 Р=Ёш=" on dramatic art, receptions of the musical recitation, sliding on the border separating realism from naturalism, belongs to products veristskogo sense, such, as "Рхыіёър ёхё=і" "¤р ч№" Puccini's last one-act operas. But also in "135 Р=Ёш=" Already that specific music of a Negro life, the jazz rhythmics given to drink by sensuality which blossoms in Gershwin's the most outstanding creation, in "¤юЁуш and …хёё" sounds;. In this sense "135 Р=Ёш=" - the first experience of the American national opera.
And after it the Blue rhapsody, brought to Gershwin the world glory is born. Naive dream "т№Ёрё=ш=і" a jazz to symphonic scales owned not only Gershwin. Besides Pol Uajtmen - unsuccessfully, from our point of view, named in America "ъюЁюыхь фцрчр" aspired also;. In the heat of an initial phase "ёръёю¶юээющ ыш§юЁрфъш" that is in the early twenties of the XX-th century, Uajtmen, the violinist on a speciality, has arrived at the idea prompted by a gigantomania typical for the American validity: to create huge, porazhajushchi quantity of participants an orchestra - a hybrid under the exact name "ёшь¶юфцрч".
Uajtmenu has carried. He has met the talented arranger F.Grofe who was almost carrying out plans of "ёшь¶юсюёёр" as named it "шё=шээ№х фцрчшё=№".
In casual conversation of Uajtmen has suggested Gershwin to write something for its orchestra. Gershwin has promised and has there and then forgotten about it. Only from department of the information of the newspaper "-і¦-+юЁъ Gerald КЁшс¦э" he has learnt that "-цюЁфц Gershwin writes the Concert for the Field orchestra Лрщ=ьхэр". Was over what to reflect - before the designated date of a concert there was a month.
< we come back - it is readable further >