Book contents
- The Cambridge Companion to Gershwin
- Cambridge Companions to Music
- The Cambridge Companion to Gershwin
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Preface
- Acknowledgments
- Part I Historical Context
- Part II Profiles of the Music
- 5 Blue Monday and New York Theatrical Aesthetics
- 6 Broadway in Blue: Gershwin’s Musical Theater Scores and Songs
- 7 The Works for Piano and Orchestra
- 8 Harmonizing Music and Money: Gershwin’s Economic Strategies from “Swanee” to An American in Paris
- 9 Exploring New Worlds: An American in Paris, Cuban Overture, and Porgy and Bess
- 10 Complexities in Gershwin’s Porgy and Bess: Historical and Performing Contexts
- 11 Writing for the Big Screen: Shall We Dance and A Damsel in Distress
- Part III Influence and Reception
- Guide to Further Reading
- Index
6 - Broadway in Blue: Gershwin’s Musical Theater Scores and Songs
from Part II - Profiles of the Music
Published online by Cambridge University Press: 02 August 2019
- The Cambridge Companion to Gershwin
- Cambridge Companions to Music
- The Cambridge Companion to Gershwin
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Preface
- Acknowledgments
- Part I Historical Context
- Part II Profiles of the Music
- 5 Blue Monday and New York Theatrical Aesthetics
- 6 Broadway in Blue: Gershwin’s Musical Theater Scores and Songs
- 7 The Works for Piano and Orchestra
- 8 Harmonizing Music and Money: Gershwin’s Economic Strategies from “Swanee” to An American in Paris
- 9 Exploring New Worlds: An American in Paris, Cuban Overture, and Porgy and Bess
- 10 Complexities in Gershwin’s Porgy and Bess: Historical and Performing Contexts
- 11 Writing for the Big Screen: Shall We Dance and A Damsel in Distress
- Part III Influence and Reception
- Guide to Further Reading
- Index
Summary
George Gershwin composed for the Broadway stage for two decades. Two songs – single numbers in shows featuring several songwriters – bookend this area of Gershwin’s output: “Making of a Girl” in the Passing Show of 1916and “By Strauss” in the 1936 revue The Show Is On (both productions played the Winter Garden Theatre). In the intervening years, Gershwin was the sole credited composer on twenty-two musical shows, and songs by Gershwin were included in nineteen more productions. From 1924 to 1932, Gershwin was a dominant commercial and artistic force on the New York musical stage.
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- Information
- The Cambridge Companion to Gershwin , pp. 80 - 101Publisher: Cambridge University PressPrint publication year: 2019