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Posts Tagged Rhapsody in Blue

Maggie’s Picks

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In Park Square Theatre’s upcoming musical, The Soul of Gershwin: The Musical Journey of an American Klezmer, Maggie Burton will play the Chazzan (Cantor). When asked “What is your favorite Gershwin tune to hear or sing (or both!)? And why?,” she answered:

I love just about everything Gershwin wrote.  I never get tired of listening to “Rhapsody in Blue,” so I guess that’s my favorite tune to listen to. Today, anyway. Could be something else tomorrow!

As for singing–an obvious answer for me would be “Summertime.”  It’s so beautiful and versatile. But another song I really enjoy singing is “By Strauss.”  It’s a fun, up-tempo waltz with clever lyrics that Gershwin wrote in the style of Johann Strauss, the composer known as the Waltz King. The song has been recorded by such diverse artists as Ella Fitzgerald and Kiri te Kanawa, which says a lot about the range of the Gershwins’ music and lyrics.

In our show, Gershwin alludes to the idea that good composers borrow, but great composers steal. He also says we might hear (in his music) something that we might not expect–something that he himself might not expect. “By Strauss” is a great example.

Join Maggie Burton and her fellow cast-mates, accompanied by a live band, at Park Square Theatre’s Proscenium Stage from December 2 to 31 for a rousing good time! You’ll be singing and dancing out of the theatre!

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Maggie Burton’s Background:

Park Square The Soul of Gershwin (1999 and 2011) Representative Theatre Garden of Song Opera: Cendrillon;  Gilbert & Sullivan Very Light Opera: HMS Pinafore; Minnesota Opera: Anna Bolena; Cross Community Players: Oklahoma; Morris Park Players: Sound of Music Training B.A., Music, University of Minnesota; M.M., Vocal Performance, University of Minnesota Awards/Other Soprano soloist with 1st John Sousa Memorial Band; Cantor/cantorial soloist for Jewish High Holy Days

The Heart and Soul of Gershwin

What do you think of when you hear Gershwin? Right now I only mean the literal name – George Gershwin. Do you think of iconic songs such as “Rhapsody in Blue” and “An American in Paris”? How about the great opera, Porgy and Bess and it’s classic “Summertime”? Okay, now what else do you think about (again, about the man himself). Do words like “New York”, “jazz”, “immigrant”, “Great American Songbook” and “Roaring ’20s” float through your imagination?

They’re all floating about in my head and I’m just a millennial who’s about to live through a whole new ’20s!

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George Gershwin

 

Speaking of which, now what images are appearing in your mind? I bet it is the 1920s, the decade with which Gershwin will forever be linked. In a post-war world, the United States suddenly took the lead in cultural influence, where our figures of pop culture took on Olympian status. Athletes, aviators and artists were now more popular than any stuffy politician or war hero. Jazz, sex and money seemed to be the cultural touchstones of the era with a soundtrack composed by George Gershwin.

Born in New York City in 1898, to Roza and Jakov Gershowitz, Jewish immigrants from Russia. He had three siblings named Frances, Arthur and Ira (who would become his equally famous writing partner). The children grew up in the Brooklyn tenements and were unwittingly influenced by the cultural melting pot that surrounded them at the turn of the century.

All of this culminated in 1924 when Gershwin was commissioned to compose a jazz concerto that became Rhapsody in Blue. The piece and that opening clarinet glissando immediately established him as a serious composer at the fine age of 26.

Four years later, his next major work premiered, An American in Paris. Inspired by the years he had spent in Paris (probably the next most artistically scintillating city after New York City) he said, “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.”

He went so far as to include Parisian taxi horns into the composition.

With the dizzying heights reached by Gershwin and the country, it seemed poetic that the only way to go was down. The extravagance of the ’20s fizzled into the bleakness of the ’30s. The country may have been depressed but Gershwin was as busy as ever, composing a the folk opera, Porgy and Bess. A failure at the time, it is now regarded as a true American masterpiece, noted for it’s cast of classically-trained African American singers. Of course this was an extremely bold move at the time and thankfully one Gershwin was willing to make.

The work unfortunately proved to be his last, for what came after is again, almost poetic. In 1937 he suffered a  brain tumor and died.  The events were devastating as Gershwin was only 38 and seemingly poised to start a new chapter in his already stellar legacy.

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Now this winter, Park Square Theatre takes up the mantle of that legacy with The Soul of Gershwin: The Musical Journey of an American Klezmer. That last word, a Yiddish one, means “instrument of music”. How fitting then for a man who was an instrument of so many talents.

 

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