Customer Reviews

George Gershwin (20th Century Composers)

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This was a fascinating look into the development of one of the outstanding musical forces of the 20th century. It traces Gershwin's incredible rise from Brooklyn streets, through Tin Pan Alley, to Broadway, concert halls, and Hollywood. It looks into the many influences to his music, and his aspirations for higher forms. Greenberg introduces us to a man with a huge ego, an insatiable love of music, and an extraordinary gift - a lovable character, around whose piano you would love to stand for even just one song.
The author gives us a sense of the tragedy in Gershwin's life that was deeply touching without being melodramatic. After reading this book you'll listen to Gershwin's music with a much enriched appreciation and understanding.

Having read every Gershwin book avaliable in a legal deposit library, unfortunately for the American reviewer previously it was one in England, I can honestly say that this is one of the most informative and lively books to cover Gershwin's life and music. There is not as much focus on the music as I would like, but I am amazed at just how much I found out about it, in a book I still view as primarily a biography.

Having met "Gershwin at the keyboard" I started to read about him a few years ago, and this book persuaded me to go on reading and submit an extended essay for my A Level on Gershwin. I am now putting the finishing touch to an undergraduate dissertation on Gershwin and the only book I have felt the need to buy to help me with it is this one.

I recommend it highly for the casual reader and the scholar, and it is to be praised for its objective view, some of the other books can go on quite a boring path of conjecture connected to Gershwin's sexual habits, whilst maintaining an engagement of the reader. For a much more detailed book consider 'Howard Pollack, George Gershwin: His Life and Work, (University of California Press)' and for sources 'Wyatt and Johnson (ed), The George Gershwin Reader, (Oxford University Press, 2004)'

Seemed a little odd reading a book about Gershwin by a Brit named Greenberg. There are many on this side of the ocean that knew Gershwin intimately and it is there rather than in this book that you will find an authentic rather than scholarly approach. Anyone can accumulate information and photographs and if skilled at writing assume a role of arbiter.

Gershwin is the natural Jewish American seed of genius--spontaneous genius without the paste and glue of institutional methods and means. Had he lived beyond 39 years perhaps a true symphony would have emerged.

Then Greenberg cannot resist a simple line touching on the prospect of great Gershwin being a homosexual. What was that for? Where is there any indication of it in his hectic star struck life time. Why was it included?
What point did it serve?

There is little need for psychoanalytical applications heaped upon this creative genius. His music speaks the language of the then American heart and soul. He did not caterwaul like Elliot Carter or blast your ears like Reigger, nor create vast intellectual excusions like Sessions who music is terrible. William Schuman could compose for a thousand years and nver approach his teacher Roy Harris' Third Symphony, let alone Gershwin.

So in fact there is alot of intellectual garbage out there oh so rationalized by Boulez et al--who listens to their music? Who listens to late Stravinsky--or the minimalists or the sonorists or the serialists?

Gershwin knew the difference between preprogrammed raucous noise and music from the heart and soul. Serialists are soulless atomatons and are cumulatively not dust between the toes of gershwin creatively--he had the devine spark and we all know it--THEY did not.

Read Levant for some insight and fun about his relationship with George and Ira. There are two other superior biographies around and alot of smaller works by those close to the Gershwins. Get a broad and rounded understanding of this relatively simple man who blazed like a comet through the music world.

The Phaidon label tends toward the intellectualization of music and puts names like Schnittke next to Gershwin--you ever hear of Schnittke? Who has and who listens to his music but that is Phaidon.

Gershwin was not a homosexual, but too many who write about him are--always looking for recruits.

Don't get too intellectual with Gershwin, he is better than them--he is of the people and for the people and he sings to them as no Minimalist, serilaist or sonorist ever could or can.

Read an American author closer to home in time and space. You'll be better off.