"a role in jazz. In 1926, the radio began to regularly play jazz music, and as time progressed, by 1930, artists such as Louis Armstrong, Duke Ellington, Paul Godwin's band, Red Nichols and Peter Kreuder became popular with German audiences. The listeners were particularly partial to American black musicians such as Armstrong and Ellington, instead of their own German jazz musicians. In the 1920s, jazz in Germany was primarily a fad. The ""Salonorchester"" turned to the new style, because dancers wanted it so. By 1924, the first jazz could be heard on the radio; after 1926, when Paul Whiteman enjoyed"
"1920s America. A million selling artist who is now largely remembered for commissioning George Gershwin to write Rhapsody In Blue in 1924 and employing one of the first great names in jazz history – Bix Beiderbecke. Other jazz musicians and stars of popular music celebrated in Jazz Repertory Concerts range from The Andrews Sisters and Glenn Miller to Dizzy Gillespie and Charlie Parker and from Sidney Bechet and Fats Waller through to Weather Report and Herbie Hancock. In 1987 Pite founded the live music agency Party Jazz. It specialises in jazz, blues, soul and funk music for all kinds of"
"George Gershwin George Jacob Gershwin (; born Jacob Bruskin Gershowitz, September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions ""Rhapsody in Blue"" (1924) and ""An American in Paris"", the songs ""Swanee"" (1919) and ""Fascinating Rhythm"" (1924), the jazz standard ""I Got Rhythm"" (1930), and the opera ""Porgy and Bess"" (1935) which spawned the hit ""Summertime"". Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but"
"statement insisting that jazz was now 'our contemporary popular music', and Irving Berlin made a statement that jazz was the ""rhythmic beat of our everyday lives,"" and the music's ""swiftness is interpretive of our verve and speed"". Leopold Stokowski, the conductor of the Philadelphia Orchestra in 1924, publicly embraced jazz as a musical art form and delivered praise to various jazz musicians. In 1924, George Gershwin wrote ""Rhapsody in Blue"", widely regarded as one of the finest compositions of the 20th century; saying he conceived it ""as a sort of musical kaleidoscope of America–of our vast melting pot, of our"
"and ""Porgy and Bess"". Citations George Gershwin George Jacob Gershwin (; born Jacob Bruskin Gershowitz, September 26, 1898 – July 11, 1937) was an American composer and pianist whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions ""Rhapsody in Blue"" (1924) and ""An American in Paris"", the songs ""Swanee"" (1919) and ""Fascinating Rhythm"" (1924), the jazz standard ""I Got Rhythm"" (1930), and the opera ""Porgy and Bess"" (1935) which spawned the hit ""Summertime"". Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career"
"was something of a benchmark of jazz being seen as a serious musical form. John Alden Carpenter made a statement insisting that jazz was now 'our contemporary popular music', and Irving Berlin made a statement that jazz was the ""rhythmic beat of our everyday lives,"" and the music's ""swiftness is interpretive of our verve and speed"". Leopold Stokowski, the conductor of the Philadelphia Orchestra in 1924, publicly embraced jazz as a musical art form and delivered praise to various jazz musicians. In 1924, George Gershwin wrote ""Rhapsody in Blue"", widely regarded as one of the finest compositions of the 20th"
"the demands of its record-buying and concert-going audience. Whiteman was perhaps best known for having premiered George Gershwin's ""Rhapsody in Blue"" in New York in 1924, and the orchestrator of that piece, Ferde Grofé, continued to be an important part of the band throughout the 1920s. Whiteman was large physically and important culturally —""a man flabby, virile, quick, coarse, untidy and sleek, with a hard core of shrewdness in an envelope of sentimentalism,"" according to a 1926 ""New Yorker"" profile. A number of Beiderbecke partisans have criticised Whiteman for not giving Bix the opportunities he deserved as a jazz musician."
"one most frequently heard today. In 1928, Gershwin wrote a letter to ASCAP complaining that Grofé had listed himself as the composer of ""Rhapsody in Blue"". Despite this misunderstanding, Grofé served as one of the pallbearers at Gershwin's funeral in 1937. In 1932, ""The New York Times"" called Grofé ""the Prime Minister of Jazz"". This was an oblique reference to the fact that Whiteman was widely called ""King of Jazz"", especially after the appearance of the 1930 film of that name which featured Whiteman's music. During this time, Grofé also recorded piano rolls for the American Piano Company (Ampico) in"
"out of jazz. Whiteman's recordings were popular critically and commercially, and his style of jazz was often the first jazz of any form that many Americans heard during the era. Whiteman wrote more than 3000 arrangements. For more than 30 years Whiteman, referred to as ""Pops"", sought and encouraged promising musicians, vocalists, composers, arrangers, and entertainers. In 1924 he commissioned George Gershwin's ""Rhapsody in Blue"", which was premiered by his orchestra with the composer at the piano. Another familiar piece in Whiteman's repertoire was ""Grand Canyon Suite"" by Ferde Grofé. Whiteman hired many of the best jazz musicians for his"
"and Bess"". ""Blue Monday"" was one of Gershwin's premature works and lacks the musical and dramatic sophistication of his later musicals and ""Porgy and Bess"", but jazz conductor Paul Whiteman, who conducted the original performance of the piece in 1922, was so impressed by it that he asked Gershwin to compose a symphonic jazz piece for Whiteman to conduct at a concert Whiteman was planning. The resulting piece, ""Rhapsody in Blue,"" became Gershwin's most famous composition. Arts consultant Jeffrey James claims that ""Blue Monday"" is the ""genesis of the Rhapsody"", and ""the missing link in Gershwin's evolution into the Rhapsody"
"Broadway musicals ""Piccadilly to Broadway"" (1920) and ""For Goodness' Sake"" (1922), and jointly composed the score for ""Our Nell"" (1923). This was the beginning of a long friendship. Daly was a frequent arranger, orchestrator and conductor of Gershwin's music, and Gershwin periodically turned to him for musical advice. In 1924, Gershwin composed his first major classical work, ""Rhapsody in Blue"", for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman's Concert Band, in New York. It subsequently went on to be his most popular work, and established Gershwin's signature style and genius in blending vastly"
"to jazz that were extant during his time. It is not clear that he was a classical musician, though neither is it clear that he worked in jazz, popular music or any other field — he primarily synthesized and utilized elements of many styles, including the music of New York's Yiddish theatre, vaudeville, ragtime, operetta, jazz, Tin Pan Alley and Broadway songs, the music of the Gullah people and the impressionist and post-Romantic music of European composers. Some of his most famous compositions were the ""Rhapsody in Blue"" and ""Concerto in F"", both of which utilized jazz idioms. Gershwin's work"
"He made hundreds of arrangements of popular songs, Broadway show music, and tunes of all types for Whiteman. Grofé's most memorable arrangement is that of George Gershwin's ""Rhapsody in Blue"", which established Grofé's reputation among jazz musicians. Grofé took what Gershwin had written for two pianos and orchestrated it for Whiteman's jazz orchestra. He transformed Gershwin's musical canvas with the colors and many of the creative touches for which it is so well known. He went on to create two more arrangements of the piece in later years. Grofé's 1942 orchestration for full orchestra of ""Rhapsody in Blue"" is the"
"of Tin Pan Alley music. The influences of jazz and other contemporary styles are certainly present in ""Rhapsody in Blue"". Ragtime rhythms are abundant, as is the Cuban ""clave"" rhythm, which doubles as a dance rhythm in the Charleston jazz dance. Gershwin's own intentions were to correct the belief that jazz had to be played strictly in time so that one could dance to it. The ""Rhapsody""s tempos vary widely, and there is an almost extreme use of rubato in many places throughout. The clearest influence of jazz is the use of blue notes, and the exploration of their half-step"
"in the 1920s were pop hits such as ""Sweet Georgia Brown"", ""Dinah"" and ""Bye Bye Blackbird"". The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s. Some compositions written by jazz artists have endured as standards, including Fats Waller's ""Honeysuckle Rose"" and ""Ain't Misbehavin'"". The most recorded 1920s standard is Hoagy Carmichael and Mitchell Parish's ""Stardust"". Several songs written by Broadway composers in the 1920s have become standards, such as George and Ira Gershwin's ""The Man I Love"" (1924), Irving"
"the earliest symphonic jazz-based compositions, predating George Gershwin's ""Rhapsody in Blue"" by four months, and was well received by both French and American reviewers after its premiere at the Théâtre des Champs-Élysées in October 1923. After a successful New York performance the following month, the Ballets suédois toured the work in the U.S., performing it 69 times. A year later the company disbanded, and the score was lost until it was reconstructed from Porter's and Koechlin's manuscripts between 1966 and 1990, with help from Milhaud and others. Porter had less success with his work on ""Greenwich Village Follies"" (1924). He"
"blues into the scene being filmed. The goal was to produce a finished film with pastel shades rather than bright colors. Nevertheless, as it appears in an original two-color Technicolor print, the sequence might best be described as a ""Rhapsody in Turquoise"". Later prints made from the original two-component negative, which had survived, make the blues look truer and more saturated than they appeared to audiences in 1930. ""King of Jazz"" marked the first film appearance of the popular crooner Bing Crosby, who, at the time, was a member of The Rhythm Boys, the Whiteman Orchestra's vocal trio. Crosby was"
"Jerome Andrews Jerome Andrews (1908–1992) was an American dancer and choreographer. He is remembered as a pioneer of modern dance in France. Jerome Andrews was born in Plaistow, New Hampshire, in 1908. He was educated at the Cornish College of the Arts in Seattle. He was then trained in modern dance by Martha Graham, as well as Ruth St. Denis, Doris Humphrey and Hanya Holm. He was also influenced by Mary Wigman. He started his career as a dancer in Paris in the early 1930s, where he was a dancer in ""Rhapsody in Blue"" by George Gershwin at Le Colisee."
"the improvisers. More dramatic attempts to bridge jazz and classical were made by Charlie Parker in 1949 and in the 1950s by J. J. Johnson, John Lewis, and William Russo. George Gershwin blended jazz and symphonic music in ""Rhapsody in Blue"" (1924). French composer Darius Milhaud used jazz-inspired elements, including a jazz fugue, in ""La création du monde"". Igor Stravinsky drew from jazz for ""Ragtime"", ""Piano-Rag-Music"", and the ""Ebony Concerto"" composed for clarinetist Woody Herman and his orchestra in 1945. Other composers who used jazz include George Antheil, Leonard Bernstein, Aaron Copland, Morton Gould, Paul Hindemith, Ernst Krenek, Bohuslav Martinů,"
"he conducted the first performance of Gershwin's original jazz-band score of ""Rhapsody in Blue"" since 1925, with permission of Ira Gershwin and Warner Brothers Music, which garnered national attention. Kiesler was recipient of a conducting fellowship at the Aspen Music School and his teachers and mentors have included Fiora Contino, Julius Herford, John Nelson, Erich Leinsdorf, James Wimer, and Carlo Maria Giulini. Kiesler was a participant in the League of American Orchestras’ 1990 Leonard Bernstein American Conductors Program with the National Symphony Orchestra at the Kennedy Center and the 1991 Carnegie Hall Centenary conducting class with Pierre Boulez and L’Ensemble"
"Paul Whiteman Paul Samuel Whiteman (March 28, 1890 – December 29, 1967) was an American bandleader, composer, orchestral director, and violinist. As the leader of one of the most popular dance bands in the United States during the 1920s and early 1930s, Whiteman produced recordings that were immensely successful, and press notices often referred to him as the ""King of Jazz"". Some of his most popular recordings included ""Whispering"", ""Valencia"", ""Three O'Clock In The Morning"", ""In A Little Spanish Town"", ""Parade Of The Wooden Soldiers"", and ""Wang Wang Blues"". Paul Whiteman led a usually large ensemble and explored many styles"
"On"", written by Harry Barris and sung by the Rhythm Boys featuring Bing Crosby and Irene Taylor with Bix Beiderbecke on cornet, ""Nuthin' But"", ""Grand Canyon Suite"" and ""Mississippi Suite"" composed by Ferde Grofe, ""Rhapsody in Blue"", composed by George Gershwin who played piano on the Paul Whiteman recording in 1924, ""Wonderful One"" (1923), and ""Wang Wang Blues"" (1920), covered by Glenn Miller, Duke Ellington, Benny Goodman, and Joe ""King"" Oliver's Dixie Syncopators in 1926 and many of the Big Bands. ""Hot Lips"" was recorded by Ted Lewis and His Jazz Band, Horace Heidt and His Brigadiers Orchestra (1937), Specht's"
"Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s. Some compositions written by jazz artists have endured as standards, including Fats Waller's ""Honeysuckle Rose"" and ""Ain't Misbehavin'"". The most recorded 1920s standard is Hoagy Carmichael and Mitchell Parish's ""Stardust"". Several songs written by Broadway composers in the 1920s have become standards, such as George and Ira Gershwin's ""The Man I Love"" (1924), Irving Berlin's ""Blue Skies"" (1927) and Cole Porter's ""What Is This Thing Called Love?"" (1929). However, it was not until the 1930s that musicians became comfortable with the harmonic and melodic"
"King of Jazz"", Whiteman was arguably America’s first popular music superstar. Whiteman’s foresight regarding the coming of the jazz age and his decisions to hire the best jazz musicians was a powerful boost for jazz, swing and blues. Though he was prohibited from hiring black performers, he hired arrangers and composers. Bing Crosby took over as master of ceremonies January 2, 1936. Crosby was host until May 9, 1946. Other entertainers who appeared regularly during Crosby's tenure included Connie Boswell, Victor Borge, and Mary Martin. A review in ""Billboard"" magazine commented, ""It is a tribute to Bing Crosby, program's highlight,"
"Theatre in Paris due to the celebration of the Olympic Games, 1924. In 1925 he was summoned by Eduardo Granados, son of the famous composer Enrique Granados, to perform the famous solo for the beginning of ""Rhapsody in Blue"", by George Gershwin, with the clarinet; it was the first performance of this work in Spain. At about 1930 he arrives in India for the first time, and makes a concert tour with his jazz orchestra. A short time after this, he was appointed Principal of the Calcutta School of Music. He stayed in India for 27 years. There he became"
"instruments and saxophones) and be heard clearly on acoustic recordings. George Gershwin's ""Rhapsody in Blue"", in Ferde Grofe's original jazz-orchestra arrangement, includes tenor banjo, with widely spaced chords not easily playable on plectrum banjo in its conventional tuning(s). With development of the archtop and electric guitar, the tenor banjo largely disappeared from jazz and popular music, though keeping its place in traditional ""Dixieland"" jazz. Some 1920s Irish banjo players picked out the melodies of jigs, reels, and hornpipes on tenor banjos, decorating the tunes with snappy triplet ornaments. The most important Irish banjo player of this era was Mike Flanagan"
"'Danse sauvage,' half-nude, wearing only ostrich feathers. The audience at opening night on October 25, 1925 included Jean Cocteau, composers Darius Milhaud and Maurice Ravel, and fashion designer Paul Poiret. The show was an immense success. After a successful tour of Europe, Baker returned to France three months later to star at the Folies Bergère. The Théâtre des Champs Élysées continued its American series in July 1926 with the first French performance of George Gershwin's ""Rhapsody in Blue"" by the Paul Whiteman Orchestra The other music halls, including the Casino de Paris, Moulin Rouge and les Ambassadeurs presented jazz reviews,"
"music, and that perhaps because of this, Thomson bore a resentment against him. During Toscanini's middle years, however, such now widely accepted composers as Richard Strauss and Claude Debussy, whose music the conductor held in very high regard, were considered to be radical and modern. Toscanini also performed excerpts from Igor Stravinsky's ""Petrushka"", two of Dmitri Shostakovich's symphonies (Nos. 1 and 7), and three of George Gershwin's most famous works, ""Rhapsody in Blue"", ""An American in Paris"", and the Piano Concerto in F, though his performances of these last three works have been criticized as not being ""jazzy"" enough. Another"
"jazz elements in many 20th-century concertos. George Gershwin was a pioneer for such works, in for example his ""Rhapsody in Blue"" (1924) and Concerto in F for piano (1925). Jazz was a source of inspiration for Aaron Copland's Piano Concerto (1926), Stravinsky's Ebony Concerto for clarinet and jazz band (1945). The Legend of Yush’s Poet is the first concerto written for an actress by Ehsan Saboohi.“The structure of this “concerto” is a combination of contemporary Naghali (recounting stories), spoken word, and contemporary performance art. The actress here creates musical events with voice, body, and movement; a bit like a piano"
"four-minute edited version of this piece at the 2010 Vancouver Olympics, winning the gold medal for ladies' figure skating and breaking the world record score for the women's long program. Concerto in F (Gershwin) Concerto in F is a composition by George Gershwin for solo piano and orchestra which is closer in form to a traditional concerto than the earlier jazz-influenced ""Rhapsody in Blue"". It was written in 1925 on a commission from the conductor and director Walter Damrosch. It is just over half an hour long. Damrosch had been present at the February 12, 1924 concert arranged and conducted"
"Oliver's title more ceremonial than a claim of supremacy. Meanwhile, in New York City in the 1920s, Paul Whiteman controversially began billing himself as the ""King of Jazz"". His nationally popular band with many hit records arguably played more jazz-influenced popular music than jazz ""per se"", but to the dismay of many later jazz fans, Whiteman's self-conferred moniker stuck, and a motion picture ""The King of Jazz"" starring Whiteman and his band appeared in 1930. The ""King of Jazz"" title was a publicity stunt in 1923, by a musical instrument manufacturer that Whiteman endorsed, and Whiteman's publicists used it to"
"Rhapsody in Blue (album) Rhapsody in Blue is a studio album by American pianist Uri Caine. The album was released as a CD on via Winter & Winter label. A special vinyl LP edition of the album was also released, strictly limited to 500 numbered copies. This release does not have track 9. Uri Caine Ensemble plays nine famous songs written by George Gershwin and Ira Gershwin. Caine names the album after Gershwin’s masterpiece ""Rhapsody in Blue""—as the centerpiece of his new Gershwin interpretations. Caine and Gershwin are connected not only though Jewish East European origin of their families but"
"of music, such as blending symphonic music and jazz, as in his debut of ""Rhapsody in Blue"" by George Gershwin. Whiteman recorded many jazz and pop standards during his career, including ""Wang Wang Blues"", ""Mississippi Mud"", ""Rhapsody in Blue"", ""Wonderful One"", ""Hot Lips (He's Got Hot Lips When He Plays Jazz)"", ""Mississippi Suite"", ""Grand Canyon Suite"", and ""Trav'lin' Light"". He co-wrote the 1925 jazz classic ""Flamin' Mamie"". His popularity faded in the swing music era of the mid-1930s, and by the 1940s he was semi-retired from music. He experienced a revival and had a comeback in the 1950s with his"