the creative fever Has begun. The first the theme taking in the Blue rhapsody the central place was born. It has deduced the whole round dance from depths of imagination of the composer and other themes together forming a lacy texture of melodic drawings of the Rhapsody.
Time did not allow Gershwin to be engaged in the score. On its sketches-instructions it was made by F.Grofe. Evening of a premiere, on February, 12th, 1924, became the most significant date of the biography of Gershwin. He played party of a the soloist grand piano - the Blue rhapsody on the genre comes nearer to a piano concert.
In the forefront there were glorified musicians: Rakhmaninov, Stravinsky, Heifetz, Tsimbalist, Stokovsky. Rhapsody reception was literally unprecedented. Both the soloist, and an orchestra, and Uajtmen have caused an infinite applause. But it was no simply big success of one evening. The most perspicacious and fine judges understood that the Blue rhapsody synthesises in itself the characteristic features of music of the whole epoch that its folklore basis that and is strong that in all score there is no citation.
Negro a Negro spiritual and blueses of New Orleans, tunes of American Indian tribes of far Alaska, a relentless rhythm of a jazz, and nearby the uttermost rhythmic freedom - all it was synthesised in sound streams of the Blue rhapsody stunning with talent. Why "уюыѕсющ"? There are some versions, the caused themes that on-English "blue" - blue and "blues" - a lyrical, sad song - lingvisticheski are close. Therefore "Rhapsody in Blue" translate and as the Rhapsody in blue, both the Blue rhapsody, and the Rhapsody in style a blues. Last name has that advantage that in Rhapsody music repeatedly pass the themes really reminding blueses.
It is indicative that later the Rhapsody musicians, as Eugene Ormandi, Andre Kosteljanets, Alexander Gauk and Isaak Dunaevsky conducted such different type. Triumphal procession of the Rhapsody in style a blues covers Europe and then all countries of the world.
The success Wave has transferred Gershwin through ocean. In London it rehearses a new musical comedy "Sweet Little" also writes a piano concert. I part reminds it (1925) dance popular in those years a Charleston, II - the uneasy and pensive theme associates with a nocturne, a blues; the ending on dynamics and character of movement has something in common with I part.
Gershwin continued excitedly and generally successfully to create music in favourite public an estradno-operetta genre. But after two large compositions it gravitates to "ёхЁіхчэющ" more and more; to music. Having got acquainted in 1928 with Morisom Ravel making a trip across America, Gershwin has tried to find out - whether will disagree to take the great master of modern music it to itself in pupils. But Ravel, highly appreciating Gershwin's talent, persistently advised to it not to leave for limits of music entertaining in which genres it, Gershwin, according to Ravel, occupies the highest step.
And nevertheless Gershwin has again appeared in the power "ёхЁіхчэюую" a plan. As a push to it stay in Paris where it had possibility twice has served to hear the Rhapsody, both times performed by, not delivered to it pleasures. But in Paris he has heard for the first time in another's execution the piano concert. Played its Dmitry Temkin. Played perfectly. The concert occurred in a hall the Grandee the Opera. Reaction of public and press responses were good. Though other voices were distributed also. So, Sergey Dyagilev has thrown the phrase which has become by the winged: "¦=ю a good jazz, but bad -шё=". And Sergey Prokofiev has not failed to say one of the "ьшьюых=э№§ ёрЁърчьют": "¦=ю a bundle tridtsatidvuhtaktovyh °ы ухЁют".
Perhaps, therefore the thought on a revenge has arisen at Gershwin. Already here, in Paris, there were first sketches of a symphonic poem "+ьхЁшърэхч in ¤рЁшцх". Being typed by the European impressions, Gershwin goes to a city "ъырёёшёхёъющ" a light music - Vienna.
In conversations with the author "Ршыіт№" - Imre Kalmanom and the author "-хёхыющ тфют№" - Frantsem Legarom Gershwin has found at once common language, has become stronger in thought that music "ёхЁіхчэр " and "ыхуър " not antagonists, especially if to "ыхуъющ" to music to approach in a serious way, and "ёхЁіхчэѕ¦" music not to preserve against a smile. In such plan music "+ьхЁшърэчр in ¤рЁшцх" also sounds;. Here its program.
... The Young American comes to Paris and in serene May morning goes on walk on the Champs Elysée. Continually it finds an occasion to admiration. And not the Louvre, not Versailles, not Trianon, - a usual bait of tourists, - and simply Parisian streets with their turmoil, hooters taksomotorov, elegant crowd, a spontaneity of reaction of Parisians on any joke - all it carries away the hero of a symphonic poem in whom it is easy to guess lines of the composer. At some instant the grief cloudlet obscures outlines of a musical phrase, there can be fleeting memoirs on the native land, on the sad blues with inspiration executed by the Negro-trumpeter. But the cloudlet has left in bezbrezhe the sky, and again blue, the sun, ringing laughter, postukivanie canes and kastanetnye trills of heels...
Conductor Walter Damrosh on the eve of 1929 for the first time has acquainted the American public with new creation of its favourite, George Gershwin. And again, as it was and with the Blue rhapsody, the composer, the tremendous success waited. And then "+ьхЁшърэчр in ¤рЁшцх" become popular not only in the USA, but also in Europe, public listens performed by conductors of all ranks, genres and individualities: Leopold Stokovskogo, Andre Kosteljantsa, Leonarda Bernstein. With what humour Gershwin reproduces the folklore of the Parisian street refracted through sides of typically American musical perception! But if to speak about specific receptions or citations they Appear only twice: for the first time in music naturalisticheski the automobile horn, in another, according to the program is reproduced, from the opened doors of a vegetable marrow mighty octaves of the trombones playing archaic, by miracle escaped matchish rush.
On Gershwin's creative heritage it is possible, as on a diary, to track the brightest impressions of his life. The Negro folklore has poured in the temperament and the poetry in clock cages of the Blue rhapsody; the echo of the Parisian streets has responded in "+ьхЁшърэчх" the trip to Cuba has fascinated Gershwin faltering istomnym a rhythm the points, generated the Cuban overture (1932), and theatres, teatriki a Broadway which atmosphere Gershwin breathed, all demanded new and new musicals and songs. In these genres - a musical - a song - Gershwin has written the overwhelming majority of products.
It is not necessary to forget that in Gershwin to whom soon after the composition of the Cuban overture it was executed only thirty four years, still veins a youthful fuse, youthful thirst "яюърчр=і ёхс " that he enjoyed all displays of the glory which have come to it.
When about Gershwin have started talking as about the author "¤юЁуш and …хёё" the first American opera which have reached of level classics, its glory it was carried with new force. In 1924 the book of Dgo was published Hejvarda under the name "¤юЁуш" Is barefooted;. The book was a success. The big success. It was truthful, in it sympathy for the most wretched layer of the American society - to Negroes sounded. And the hero of the book, legless cripple Porgi, driving about in the cart harnessed by a goat, caused deep excitement and liking of readers.
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