*ANNOUNCEMENT TIME!* 1) I'm really, really sorry if this video is very delayed. Aside from my laziness to make videos and my work schedule, my thumb was very swollen for whatever reason this week, and had checked it up too late, so it might be a long time for me to recover. I am also unlucky to find film music by composers other than the ones I had already featured for the tribute, so I finally decided to put this in and properly close the tribute. 2) Also, for another heads-up, the sheet music is missing some parts in the middle of the video. *sniff sniff* 3) Hey, guess what, we hit 7 million views already! Thank you very much for this milestone, but I guess I can't thank you enough, especially for the fact that we're gonna hit 10K subs soon. Promise, I'm gonna upload something incredible when we get there. Don't give up on me yet, OK? :) 4) Any random comments, suggestions, opinions, questions, or video requests? Feel more than free to leave a comment or give me a PM. :D
sometimes... I feel like I am really improving my compositions... And becoming pretty good at it... And then I listen to this... And remember that I am extremely, extremely crap Feels good
9:24 is giving me very interesting ideas about how sound can morph into shapes. The triplets to me sound like chunks that would absorb into whichever hall this was recorded in. BRAVO
@Adam Schiff "During his time with Schillinger, Gershwin studied all the aspects of music theory, harmony, and form that would typically be presented in a college freshman-level music theory course. But Schillinger also exposed Gershwin to polytonality, polymodality, and pandiatonicism. "
Okay, maybe not as tuneful as Rhapsody in Blue, but definitely worth hearing. I found an online commentary that made a good case for hearing the earlier version of this music in its cinematic context, 1931's "Delicious." If memory serves, Gershwin himself did the orchestra for this piece - love the addition of the harp! - as he had for the Concerto in F and the I Got Rhythm Variations. Thanks for posting!
Rhapsody in Blue has so many melodies combined together. Whereas here, there are less melodies and more structured. I'd say the Second Rhapsody is a better composition than Rhapsody in Blue, because clearly we can here the theme, development, variations, second theme, etc., whilst in Rhapsody in Blue, it is more messy.
The Gershwins had an unhappy experience in Hollywood. They did not go back until after 'Porgy and Bess' was premiered and they were hired to produce scores for 'Shall We Dance', 'A Damsel in Distress' and 'The Goldwyn Follies'. By then George's concertizing made the moguls afraid he was going longhair. He complained: 'It has come to this- Sam Goldwyn saying "Why can't you write hits like Irving Berlin?"' Had he lived, Gershwin would have been feted by the Hollywood of the 1940s which went wild for fusion: 'Fantasia', Joan Crawford in 'Humoresque', 'Stranger in Paradise', the Warsaw Concerto, Jose Iturbi playing boogie-woogie, etc.
@@Dylonely42 I did listen to all of Gershwin's works for orchestra dozens of times. Perhaps due to personal taste, I don't like the texture of the orchestra mainly, the strings sounds muddy in my opinion. I do notice the form of thematic transformation and I like Gershwin's manner of doing so. I like his Cuban Overture and Concerto in F more.
@@SCRIABINIST You've good taste and way to see music. I prefer his Piano Concerto and his An American in Paris more (althought I love all of Gershwin's masterpieces).
