please, don't blame me for feeling am or ous...................................
It's wonder ful, It's marvel lous
That you should care for me
This song was written by George Gershwin with words by Ira Gershwin in 1927. It was introduced by Adele Astaire and Alen Kearns in the Broadway musical "Funny Face". Since then it has been recorded by all the great Jazz singers of 20th century. In 1957 it was sung and danced by Audrey Hepburn and Fred Astaire. The music has also been played by many instrumentalists and bands, in 2012 the Megan Washington band played an arrangement in the Australian promotional video for Virgin Australia airways.
Of Gershwin himself, this cameo brings into focus his musical and personal sensitivities:
Around a piano to honour the birthday of the famous French Composer, Maurice Ravel on March 28, 1928, in New York City, stands Oscar Freid, German Composer, Conductor and mentor of Gustaf Mahler; Eva Gauthier, Canadian/American mezzo-soprano who sang the lead role in Stravinsky's Opera, "Persephone"; Manoah Leide-Todesco, the most celebrated Italian Conductor of European and US Concert Halls of the first two decades of the 20th century and George Gershwin, while sitting at the piano is the great Maurice Ravel himself. Gershwin had never received the popular fame in the US he had received in Europe. He reached out to Debussy, Stravinsky and Ravel for succour and inspiration. Ravel on the other hand regarded Gershwin as one of the greatest composers of his time, using Jazz harmonies and rhythms that the old world masters could not copy and these classicists said of him "He is the next JS Bach".
My arrangement of this song fails to employ the multiple rapid chord cadenzas he wrote. I hope you get the sense of his use of subtle shades of harmony in this song of 32 lovely bars.
This song was written by George Gershwin with words by Ira Gershwin in 1927. It was introduced by Adele Astaire and Alen Kearns in the Broadway musical "Funny Face". Since then it has been recorded by all the great Jazz singers of 20th century. In 1957 it was sung and danced by Audrey Hepburn and Fred Astaire. The music has also been played by many instrumentalists and bands, in 2012 the Megan Washington band played an arrangement in the Australian promotional video for Virgin Australia airways.
Of Gershwin himself, this cameo brings into focus his musical and personal sensitivities:
Around a piano to honour the birthday of the famous French Composer, Maurice Ravel on March 28, 1928, in New York City, stands Oscar Freid, German Composer, Conductor and mentor of Gustaf Mahler; Eva Gauthier, Canadian/American mezzo-soprano who sang the lead role in Stravinsky's Opera, "Persephone"; Manoah Leide-Todesco, the most celebrated Italian Conductor of European and US Concert Halls of the first two decades of the 20th century and George Gershwin, while sitting at the piano is the great Maurice Ravel himself. Gershwin had never received the popular fame in the US he had received in Europe. He reached out to Debussy, Stravinsky and Ravel for succour and inspiration. Ravel on the other hand regarded Gershwin as one of the greatest composers of his time, using Jazz harmonies and rhythms that the old world masters could not copy and these classicists said of him "He is the next JS Bach".
My arrangement of this song fails to employ the multiple rapid chord cadenzas he wrote. I hope you get the sense of his use of subtle shades of harmony in this song of 32 lovely bars.
