For the Scandals production of 1922, Gershwin convinced producer White to incorporate a one-act jazz opera. This work, Blue Monday was poorly received and was removed from the show after one performance. Bandleader Paul Whiteman, who had conducted the pit orchestra for the show, was nevertheless impressed by the piece. He and Gershwin shared the common goal of bringing respectability to jazz music. To this end, in late 1923 Whiteman asked Gershwin to compose a piece for an upcoming concert. Legend has it that Gershwin forgot about the request until early January 1924, when he read a newspaper article announcing that the Whiteman concert on February 12 would feature a major new Gershwin composition. Writing at a furious pace in order to meet the deadline, Gershwin composed Rhapsody in Blue, perhaps his best-known work, in three weeks’ time.
Owing to the haste in which it was written, Rhapsody in Blue was somewhat unfinished at its premiere. Gershwin improvised much of the piano solo during the performance, and conductor Whiteman had to rely on a nod from Gershwin to cue the orchestra at the end of the solo. Nevertheless, the piece was a resounding success and brought Gershwin worldwide fame. The revolutionary work incorporated trademarks of the jazz idiom (blue notes, syncopated rhythms, onomatopoeic instrumental effects) into a symphonic context. Arranged by Ferde Grofé (composer of the Grand Canyon Suite) for either symphony orchestra or jazz band, the work is perhaps the most-performed and most-recorded orchestral composition of the 20th century.
For the remainder of his career, Gershwin devoted himself to both popular songs and orchestral compositions. His Broadway shows from the 1920s and ’30s featured numerous songs that became standards, including: “Fascinating Rhythm,” “Oh, Lady Be Good,” “Sweet and Low-Down,” “Someone to Watch over Me,” “Strike Up the Band,” “The Man I Love,” “’S Wonderful,” “Embraceable You,” and “But Not for Me.” He also composed several songs for Hollywood films, such as “Let’s Call the Whole Thing Off,” “They All Laughed,” “A Foggy Day,” “Nice Work If You Can Get It,” and “Love Walked In.” His lyricist for nearly all of these tunes was his older brother, Ira, whose glib, witty lyrics—often punctuated with slang, puns, and wordplay—received nearly as much acclaim as George’s compositions. The Gershwin brothers comprised a somewhat unique songwriting partnership in that George’s melodies usually came first—a reverse of the process employed by most composing teams.
Achievements of Islamic Revolution and a Brighter Horizon for Future
