George Gershwin
Gershwin's Greatest Hits

George Gershwin is not an artist for discography; he never wrote to create an album and sell records. Instead, he wrote for cinema, for entertainment, for music itself. He did it more than 700 times. Any kind of essential collection or best-of would be reductive because he is an immense artist. His pieces have been covered by hundreds of artists, and his soundtracks are part of the history of cinema; talking about musicals inevitably means talking about Gershwin. Perhaps you only remember "Summertime" by him, which is a piece from 1933, the most covered piece of all time (with 1500 different versions). However, this artist left an incredible legacy, and his rhapsodies, his movements, his blending of classical and jazz music, make him an immortal and essential artist. In honor, his precious collaborator, brother, and high-quality lyricist, Ira Gershwin, should be remembered.

To outline his path, sing his praises, and highlight his importance, I would like to analyze this greatest hits album published by Sony that ranges from jazz to more classical and orchestral sounds. 11 tracks of exquisite quality.

"Strike up The Band" is a piece specifically created for a musical comedy of the same name, featuring Mickey Rooney and Judy Garland. The soundtrack won the Oscar. In this piece, one can savor the orchestral character of a symphonic march. A full sound, rich with winds and strings, with a cheerful and powerful progression.

"Rhapsody In Blue" is a stunning and very romantic piece (which Allen used to open "Manhattan") with a piercing clarinet and a majestic wind accompaniment. The piece that combines jazz and orchestral music dates back to 1924 and has an enchanting and compelling atmosphere. With this piece, Gershwin wanted to identify the whole of America, a kaleidoscope of races, by merging two genres belonging to two different musical roots. A successful masterpiece with an eternal flavor.

"Prelude No. 1" has a saloon-like feel, with classical sharpness and South American hints, lively and with an essential solo piano sound. A continuous crescendo makes this 1930s rhapsody a magical and colorful auditory journey.

"Piano Concerto in Fa" is of orchestral origin, with a robust and incredibly modern sound. It is part of the Rhapsodies in Blue, from 1925, and stands out in a three-movement piece between "allegro and allegro agitato." A true work demonstrating Gershwin's great compositional skills. This piece is still performed by philharmonic orchestras worldwide.

"An American in Paris", a lively orchestral piece from 1950, was written specifically for the musical of the same name starring Gene Kelly, and another Oscar was won with Saul Chaplin for the best soundtrack.

"Prelude No. 3" has a tango and jazzy sound, another very elegant rhapsody with melancholic nuances.

"Medley From Porgy and Bess" is an orchestral piece that includes the very famous "Summertime". It dates back to 1930 and was written for an African-American love story. The original interpretative key of this piece is spiritual-folk, thus denoting very melancholic and painful sounds.

"Fascinating Rhythm" is almost a spiritual song carried by classical sounds, it dates back to 1924, and was written for the musical "Lady Be Good" with Fred Astaire. The lyrics are naturally by Ira Gershwin, himself fascinated by the roots of black music, its melody, and the strong spirituality of the words.

"Promenade (Walking the Dog)" is ingenious, serene, rhythmic, and jazzy and was written for "Shall We Dance"(1937), an unforgettable musical with Fred Astaire and Ginger Rogers. The soundtrack also includes the wonderful and very romantic "They Can't Take That Away From Me". It's astonishing how the soundtrack only received an Oscar nomination.

"Lullaby" is a sort of musical lullaby, obviously very soft, part of the musical "Porgy and Bess" (1935). The characteristic of this piece is the melancholic chromaticism and the heartbreaking minor notes. A naturally revisited and classic piece of orchestral music.

"Cuban Overture" is stormy and scratchy, in a languid chase of strings and winds. The piece is from 1932, written specifically for a symphonic orchestra, and it is astonishing the choice to include Cuban percussion that brings the piece, undeniably classic, closer to Latin American sounds like those of the rumba. A sort of ancestral fusion.

It is nothing compared to the majestic work of the New York master. Pieces like "Swanee" (his first musical) or "I Got Rhythm" (from the musical "Crazy Girl") or "Of Thee I Sing" (a play that even won the Pulitzer Prize) would be missing, not to mention all his pieces that Ella Fitzgerald or Frank Sinatra have reinterpreted. But it may suffice. A great artist indeed.