Word: rhythms
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Dates: during 1930-1939
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Utilizing jazz rhythm, the work calls for a great deal of variety of percussion instruments, and for its melodic passages, three saxophones and a Hawaiian guitar...
...peculiar memorial to the late George Gershwin appeared last week in the form of a record made in England by Columbia. Gershwin-King of Rhythm is distinguished by sweet & low singing of The Man I Love by Hildegarde, tremolo rendering of a Gershwin tune on the harmonica by Larry Adler, and the cultivated, funereal tones of an English master of ceremonies paying tribute to the composer in odd counterpoint to the smooth, Hebrew melodies of the Jazz King. While this curio was being put on sale in Manhattan phonograph shops, one of the least sentimental and most interesting events...
...records the dialogue. The sound-effects department records a third track. In the recording room, sound engineers then synchronize the three sound tracks on one. Meanwhile background artists have been sketching out the scenes of the story, the limits in which the characters will eventually move according to the rhythm set for them...
...George, a Negro piano team, played it at a Jewish summer resort in New York's borsch belt, then brought it to a Broadway night club. There it was heard by Saul Chaplin and Sammy Cahn, two East Side boys who had written Posin', Shoe Shine Boy, Rhythm Is Our Business, could recognize a song when they heard it. They put English lyrics to Bei Mir Bist Du Schön, retained the original title, carried it to Harms, their publishers. Harms, delighted with the plaintive, minor tune that sounded like a Hebrew lament in swing time, arranged...
...premiere last week the much-discussed concerto's orchestral score was outlined by a piano accompaniment. Judging by the rather sketchy results, critics were inclined to support Joachim's deprecation of the work. Typical of Schumann were its lyric melody, its cyclical form and the elusive rhythm of its slow movement. Also typical was its occasional awkwardness for the violin (Schumann was a pianist). Very obvious, despite Menuhin's contentions, was the need of editing. Most of the important violin concertos by great masters have either been edited by, or written in collaboration with, some eminent violinist...