Pek teu CUT rng for piano-and orchestra: Ceci a ra zc) BRO etal reeCONCERTO in F For PIANO and ORCHESTRA ‘two Copies Nocesary for Performance GEORGE GERSHWIN NEW WORLD MUSIC CORP. NEW YORKFOREWORD George Gershwin wes born in Brookly, N. Y., September 1898 ond died in Hollywood, July 1997. Gershwin came 10 us from the very soil of our greot American melting pot. He was Invimately acquainted with the grind of life; its perpetual struggle, its joys, ily sorrows fond its aspirations, He knew his fellow man, was sensitive to his reactions, his likes ond Gilikes, and of 0 creotive qenive wos able eloquently 10 portray in music “the blood fond feeling of the American people” His, idiom was the idiom of the doy; coll it “joz2" or what you will, it wos never theless © musical expression of @ great people. Frowned upon by the musically intelli ‘gent 02 towdry, cheop ond ynmusical, yet Gershwin chose the idiom of the people fo express himself musically, Teve, others had done the some, but the tunes of Gershwin wore in some way “differant”. When they were exuberonl, they seemed to outstrip oll ther cantemporary attempts of exuberance; ond when they were expressive, tender or melancholy, they knew ne equal. Bul something elie had crept into the music, some thing thet made itself felt immediately 10 performer or listener olike. Gershwin had something to soy musically, even through the canfinements and limitations of the popu- lor song form, Above all, Gershwin wanted to soy something The test come of thot memorable concert by Paul Whiteman ond his orchestra in © program af “symphonic jazz" ot Aeolian Hall Febrvary 12th, 1924. Gershwin had writen for the occasion his Rhapsody in Blue. It become the corner-stone of Amesican Imusicol expression. In it, the serious musician found thot the “breach” between the music of the masses, the music of Tin Pan Alley and thot of more cultivated taste wos ‘cclually non-existent. There was music of questionable worth in the classic libraries o& well os there was worthless music from the region of Tin Pan Alley — and otter oll, wos not the people themselves who become bath judge and jury in either case? Following the Rhapsody in Blue and its instontoneous success, Weller Domrosch, conductor of the New York Symphony Society, commissioned Gershwin to write © Concerto for piono and orchestra. It wos 0 supreme test, but the CONCERTO IN F ¢e- sulted ond wos performed for the first Hime with Gershwin os soloist under Damrogch ‘with the New York Symphony Orchestra at Cornegie Hall December 3, 1925. fn the opinion of this chronicler, itis his greotest work. Gershwin, for the first time in his life, come 10 grips with a severe musical form, a form known to the masters and ossidvously ovoided by many of them. He wos confronted with the problems of sym- phonic orchestration ond instrumental bolonce per se end with the solo piono. He wos obliged to bring to this formidable structure e musical idiom hitherto never ctlempted— fond he sveceeded an oll cccounts, resulting in a work which todoy, ofter repected hearings, has lost none of its greatness, freshness or brilionce. Possibly when those inescapable qualities in Gershwin's music, inthe just evaluation which time brings to all things, are truly understood and appreciated, ond sound on echo throughout the world, he will hove reached his real stature omong musicians. F. Campbell Watson ‘Teachers Bsns Ha 15. 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