Table of Contents

Part I. Historical Context: 1. The unlikely patriarch Michael Owen; 2. Hearing Gershwin's New York Ellen Noonan; 3. Gershwin's musical education Susan Neimoyer; 4. Gershwin in Hollywood Jessica Getman; Part II. Profiles of the Music: 5. Blue Monday and New York theatrical aesthetics Kristen M. Turner; 6. Broadway in blue: Gershwin's musical theatre scores and songs Todd Decker; 7. The works for piano and orchestra Timothy Freeze; 8. Harmonizing music and money: Gershwin's economic strategies from 'Swanee' to An American in Paris Mark Clague; 9. Exploring new worlds: An American in Paris, Cuban Overture and Porgy and Bess Anna Harwell Celenza; 10. Complexities in Gershwin's Porgy and Bess: historical and performing contexts Naomi André; 11. Writing for the big screen: Shall We Dance and A Damsel in Distress Nathan Platte; Part III. Influence and Reception: 12. The coverage of Gershwin in music history text Howard Pollack; 13. When Ella Fitzgerald sang Gershwin: a chapter from the Great American Songbook Will Friedwald; 14. The afterlife of Rhapsody in Blue Ryan Raul Bañagale; 15. Broadway's 'new' Gershwin musicals: romance, jazz, and the ghost of Fred Astaire Todd Decker; 16. Gershwin and instrumental jazz Nate Sloan; Epilogue: the Gershwin I knew, and the Gershwin I know Michael Feinstein.

Promotional Information

Explores how Gershwin's iconic music was shaped by American political, intellectual, cultural and business interests as well as technological advances.

About the Author

Anna Harwell Celenza is the Thomas E. Caestecker Professor of Music at Georgetown University, where she also serves as core faculty in the American Studies Program. She is the author/editor of many scholarly books, including the award-winning Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra (Cambridge, 2017).  She has published numerous articles on a range of composers, from Franz Liszt and Gustav Mahler to Duke Ellington, Billy Strayhorn and Louis Armstrong.

Reviews

'… a worthwhile addition to the ever-growing body of Gershwin studies.' Andrew Farach-Colton, Gramophone

'To know where we are with Gershwin now, clearly, one should go with the Cambridge Companion.' Russell Davies, The Times Literary Supplement

'Equally at home in the concert hall or on Broadway and, later, with movies and popular music, George Gershwin (1898–1937) was a crossover artist before that term was commonly used. He continues to grab the attention of a diverse array of musicologists, and many of today's noted Gershwin experts are represented in the pages of this contribution to the 'Cambridge Companions to Music' series. The breadth of the writings in this volume illustrates how widely Gershwin's accomplishments are spread.' J. Farrington, Choice

'In this rich cornucopia of essays about Gershwin's life, work, and continuing legacy, the authors individually and collectively bring new appreciations to an extraordinary multi-faceted musical career. Whether read as single chapters or cover to cover, this book is a joy.' William A. Everett, University of Missouri-Kansas City Conservatory