{"product_id":"gershwin-the-first-recordings-1924-1949-pasc637","title":"GERSHWIN The First Recordings (1924-1949) - PASC637","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGERSHWIN\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRhapsody in Blue\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThree Preludes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eShort Story\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto in F\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eAn American in Paris\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSecond Rhapsody\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCuban Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePorgy and Bess\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e“I Got Rhythm” Variations\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings ∙ 1924 - 1949\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:48\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVarious Artists\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - see full track listing for details\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC637.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis set brings together, for the first time in one place, all of the\npremière recordings of George Gershwin’s works for the concert hall and\nopera house that were issued on 78 rpm discs, spanning a quarter of a\ncentury from the era of acoustic recording to the dawn of the LP. It\nfeatures several items which have not been reissued previously on CD (some\nnot even on LP), and concludes with an appendix of two early rival\nrecordings of \u003cem\u003eRhapsody in Blue\u003c\/em\u003e which are each significant in their\nown way.\n\u003c\/p\u003e\n\u003cp\u003e\nGershwin’s first recording of \u003cem\u003eRhapsody in Blue\u003c\/em\u003e, made for the\nacoustic horn, was set down only four months after its Aeolian Hall\npremière (12 February 1924) as part of Paul Whiteman’s famous “Experiment\nin Modern Music” concert. It is heard in Ferde Grofé’s original jazz band\norchestration, with cuts totaling about a third of the work to fit it onto\na single 12-inch disc. The alternate take of Side 2 was accidentally issued\nduring the early 1940s along with the electric version of Side 1 under the\nlatter’s catalog number, a quickly-corrected error which made it a rarity.\n\u003c\/p\u003e\n\u003cp\u003e\nThe electric remake of three years later did not go smoothly. Whiteman\nreportedly argued with Gershwin over the tempo (the bandleader wanted it\nfaster), and Victor house conductor and Gershwin friend Nat Shilkret was\nbrought in to lead the session, although he was not credited on the\noriginal disc. The result was a swifter performance anyway, with the\ncomposer appearing to play with somewhat less sensitivity than on the\noriginal acoustic (which is the version many Gershwin aficionados prefer,\ndespite the more impactful sonics of the electric).\n\u003c\/p\u003e\n\u003cp\u003e\nThe “Andante” section of the work, in which Gershwin plays both the piano\nand orchestral parts as a solo, was recorded as the filler to the Three\nPreludes, which the composer set down while he was in London during a\nEuropean vacation in the spring of 1928. Two piano solo works which were\noriginally part of the group that included the Preludes were adapted into \u003cem\u003eShort Story\u003c\/em\u003e by Gershwin and American violinist Samuel Dushkin, who\nis most remembered for his collaborations with Stravinsky. Dushkin’s\nperformance has the sort of wistful \u003cem\u003eélan\u003c\/em\u003e that was a specialty of\nFritz Kreisler, who was one of his teachers.\n\u003c\/p\u003e\n\u003cp\u003e\nThe recording of the Concerto in F was the occasion for another “ghost\nconducting” incident. After an initial session went badly because Whiteman,\nwho had not performed the work before, had problems with the rhythms,\nanother Gershwin associate, Bill Daly, was called in to lead the recording.\nGershwin had originally scored the piece himself for piano and full\norchestra, but Grofé had been tasked with making the arrangement for the\nWhiteman band presented here. Some of his instrumental substitutions sound\ndecidedly strange to ears accustomed to the symphonic version. The first\nmovement was recorded complete, but cuts were made to the other movements\nin order to fit the work onto six sides. It was first issued on American\nColumbia as part of its “Modern Music Album” series, making a strange\nbedfellow to Glazunov’s \u003cem\u003eThe Seasons\u003c\/em\u003e (Pristine PASC 432) and\nCharles Haubiel’s \u003cem\u003eKarma\u003c\/em\u003e (PASC 127).\n\u003c\/p\u003e\n\u003cp\u003e\nThe première recording of \u003cem\u003eAn American in Paris\u003c\/em\u003e featured an\nunexpected appearance of the composer on disc, playing the small celesta\npart because the orchestra contractor had forgotten to hire a keyboard\nplayer. Thanks to this, the original labels read “Victor Symphony Orchestra\nwith George Gershwin”, with Shilkret credited for “direction” in a smaller\ntypeface below. A unique advantage of this first recording is hearing the\nactual taxi horns the composer brought back from France for the work’s\ndébut.\n\u003c\/p\u003e\n\u003cp\u003e\nGershwin wrote his \u003cem\u003eSecond Rhapsody\u003c\/em\u003e in 1931 as a follow-up to \u003cem\u003eRhapsody in Blue\u003c\/em\u003e, but it never approached the original’s\npopularity. Roy Bargy, the Whiteman band piano soloist who appeared in the\nConcerto in F recording, is featured again here, once more in a cut version\nwhich leaves out about a third of the work.\n\u003c\/p\u003e\n\u003cp\u003e\nAfter Gershwin’s death in 1937, Paul Whiteman wanted to revive interest in\nthe composer’s \u003cem\u003eCuban Overture\u003c\/em\u003e, which had seen few performances\nsince its 1932 première. He commissioned Allan Small to make an arrangement\nwhich would include a piano solo. Small produced a mini-concerto (complete\nwith an elaborate piano cadenza that references \u003cem\u003eRhapsody in Blue\u003c\/em\u003e)\nthat would be more accurately described as “freely based on themes” from\nGershwin’s original, the latter of which would have to wait until the LP\nera to be accurately represented on disc. (Ironically, after all the cut\nversions of Gershwin compositions Whiteman’s band recorded, this\narrangement was actually a third \u003cem\u003elonger\u003c\/em\u003e than the original!)\n\u003c\/p\u003e\n\u003cp\u003e\nThe recording sessions for the excerpts from \u003cem\u003ePorgy and Bess\u003c\/em\u003e, made\nunder the composer’s personal supervision, began just four days after the\nwork’s Broadway opening. The same conductor and reportedly the same chorus\nparticipated; but the two Black leads (Todd Duncan and Anne Brown) were\nreplaced for the recording by White Met stars Lawrence Tibbett and Helen\nJepson. While Tibbett confirms his reputation as one of the all-time great\nsinging actors here, Jepson sometimes brings an unidiomatic “art song\nEnglish” diction to her role (though, perhaps spurred on by Tibbett, she\ndoes rise to the occasion in their love duet).\n\u003c\/p\u003e\n\u003cp\u003e\nThe final new work presented here is a recording which straddles the age of\nthe 78 with that of the LP; indeed, it was released in both formats during\nthe same month in 1949. Pianist Oscar Levant was a longtime Gershwin friend\nwho became something of a specialist in his works. The brilliant, wide\nfrequency range recording heard here from the original LP is a far cry from\nthe cramped acoustic sound of the first \u003cem\u003eRhapsody\u003c\/em\u003e disc.\n\u003c\/p\u003e\n\u003cp\u003e\nConcluding our program are two recordings of \u003cem\u003eRhapsody in Blue\u003c\/em\u003e made\nin 1927, the same year as the composer’s own electric remake, the first of\nwhich features a 21-year-old Oscar Levant as soloist. While Sony’s 2018\nLevant CD set, which omitted this disc, is subtitled “his complete piano\nrecordings”, and its notes by pianist Michael Feinstein claim that “Levant\nwas first wooed into the studio in December, 1941”, the Brunswick 78\npresented here proves otherwise. Levant’s reading, even at this young age,\nis more sensitive and nuanced than Gershwin’s own.\n\u003c\/p\u003e\n\u003cp\u003e\nThe final track takes us to Weimar-era Berlin, and the first recording of\nany of Gershwin’s “serious” works made outside the U.S. Pianist Mischa\nSpoliansky was then known mainly as a composer for cabaret and reviews,\nalthough he had also recorded an album of songs from Schubert’s \u003cem\u003eDie Winterreise\u003c\/em\u003e with Richard Tauber earlier the same year. Julian\nFuhs’ direction is the most energetic of all of these early \u003cem\u003eRhapsody\u003c\/em\u003e recordings, with characterful playing from his soloists\nwhich match that of the Whiteman band.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eGERSHWIN \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe First Recordings\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (73:58)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eGERSHWIN Rhapsody in Blue – Acoustic version \u003c\/strong\u003e(9:20)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1924 in New York City ∙ Matrices: C 30174-1 \u0026amp; 30173-2\n∙ First issued on Victor 55225\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n2.\n\u003cstrong\u003e\nGERSHWIN Rhapsody in Blue – Acoustic version – Side 2 alternate take\n\u003c\/strong\u003e\n(4:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1924 in New York City ∙ Matrices: C 30173-4 ∙ First issued\non Victor 35822\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n3. \u003cstrong\u003eGERSHWIN Rhapsody in Blue – Electric version* \u003c\/strong\u003e(8:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 April 1927 in Liederkranz Hall, New York City ∙ Matrices: CVE\n30174-6 \u0026amp; 30173-8 ∙ First issued on Victor 35822\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eGeorge Gershwin (piano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003ePaul Whiteman and His Concert Orchestra ∙ Paul Whiteman and *Nathaniel\nShilkret\n\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n4. \u003cstrong\u003eGERSHWIN Rhapsody in Blue – Andante \u003c\/strong\u003e(2:37) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 June 1928 in London ∙ Matrices: WAX 3759-1 [part] ∙ First issued\non Columbia 50107-D\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eGERSHWIN Three Preludes\u003c\/strong\u003e\u003cbr\u003e5. No. 1: Allegro ben ritmato e deciso (1:25)\u003cbr\u003e6. No. 2: Andante con moto e poco rubato (2:37)\u003cbr\u003e7. No. 3: Allegro ben ritmato e deciso (1:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 June 1928 in London ∙ Matrices: WAX 3758-2 \u0026amp; 3759-1 [part] ∙\nFirst issued on Columbia 50107-D\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eGeorge Gershwin (piano)\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n8. \u003cstrong\u003eGERSHWIN-DUSHKIN Short Story \u003c\/strong\u003e(3:03)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 February 1928 in Studio B, Hayes ∙ Matrices: Bb 12704-3 ∙ First\nissued on Disque Gramophone P-794\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eSamuel Dushkin (violin) ∙ Max Pirani (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eGERSHWIN Piano Concerto (Concerto in F)\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt. - Allegro (11:35)\u003cbr\u003e10. 2nd Mvt. – Adagio – Andante con moto (7:32)\u003cbr\u003e11. 3rd Mvt. –Allegro agitato (4:39)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 \u0026amp; 17 September \u0026amp; 5 October 1928 in New York City ∙\nMatrices: W 98568-8, 98569-5, 98570-5, 98576-2, 98578-4 \u0026amp; 98575-7∙\nFirst issued on Columbia 7170-M through 7172-M in Modern Music Album Set 3\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eRoy Bargy (piano)\u003cbr\u003ePaul Whiteman and His Orchestra ∙ William Daly\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n12. \u003cstrong\u003eGERSHWIN An American in Paris \u003c\/strong\u003e(16:18)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 February 1929 in Liederkranz Hall, New York City ∙ Matrices: CVE\n49710-2, 49711-2, 49712-2 \u0026amp; 49713-3 ∙ First issued on Victor 35963\n\u0026amp; 35964\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eGeorge Gershwin (celesta)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eVictor Symphony Orchestra ∙ Nathaniel Shilkret\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (76:50)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eGERSHWIN Second Rhapsody \u003c\/strong\u003e(8:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 October 1938 in New York City ∙ Matrices: 64598A \u0026amp; 64599A ∙\nFirst issued on Decca 29052 in album Set 31\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eRoy Bargy (piano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003ePaul Whiteman and His Concert Orchestra ∙ Paul Whiteman\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eGERSHWIN-SMALL Cuban Overture \u003c\/strong\u003e(12:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 October 1938 in New York City ∙ Matrices: 64592AA, 64593A \u0026amp;\n64594A ∙ First issued on Decca 29053 \u0026amp; 29054 in album Set 31\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eRosa Linda (piano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003ePaul Whiteman and His Concert Orchestra ∙ Paul Whiteman\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eGERSHWIN Porgy and Bess (selections)\u003c\/strong\u003e\u003cbr\u003e3. Act I: \u003ci\u003eLullaby (Summertime)\u003c\/i\u003e (2:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95465-1 ∙ First issued on Victor 11881 in album C-25\n\u003c\/span\u003e\u003c\/p\u003e4. Act I: \u003ci\u003eSummertime and Crap Game; A woman is a sometime thing\u003c\/i\u003e (3:20)\n\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95387-1 ∙ First issued on Victor 11879 in album C-25\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n5. Act I: \u003ci\u003eMy man’s gone now\u003c\/i\u003e* (4:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95683-2 ∙ First issued on Victor 11881 in album C-25\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n6. Act II: \u003ci\u003eI got plenty o’ nuttin’\u003c\/i\u003e (3:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95390-2 ∙ First issued on Victor 11880 in album C-25\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n7. Act II: \u003ci\u003eThe Buzzard Song\u003c\/i\u003e (3:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95389-3 ∙ First issued on Victor 11878 in album C-25\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n8. Act II: \u003ci\u003eBess, you is my woman now\u003c\/i\u003e (5:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95388-1 ∙ First issued on Victor 11879 in album C-25\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n9. Act II: \u003ci\u003eIt ain’t necessarily so\u003c\/i\u003e (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95466-1 ∙ First issued on Victor 11878 in album C-25\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n10. Act III: \u003ci\u003eOh, Bess, oh where’s my Bess?\u003c\/i\u003e (3:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 October 1935 in RCA Studio No. 2, New York City ∙ Matrix: CS\n95467-1 ∙ First issued on Victor 11880 in album C-25\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eHelen Jepson (soprano) ∙ Lawrence Tibbett (baritone)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eOrchestra and Chorus ∙ Alexander Smallens and *Nathaniel Shilkret\u003c\/strong\u003e\u003cem\u003e\u003cbr\u003e(Recordings supervised by the composer)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eGERSHWIN “I Got Rhythm” Variations \u003c\/strong\u003e(9:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 July 1949 in the Columbia 30th Street Studio, New York City ∙\nMatrices: XCO 41372-1 \u0026amp; 41373-1 ∙ First issued on Columbia 72873-D\n\u0026amp; 72874-D in set MM-867\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eOscar Levant (piano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eMorton Gould and His Orchestra ∙ Morton Gould\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n12. \u003cstrong\u003eGERSHWIN Rhapsody in Blue \u003c\/strong\u003e(9:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 December 1927 in New York City ∙ Matrices: XE 25382 \u0026amp; 25385\n∙ First issued on Brunswick 20058\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eOscar Levant (piano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eFrank Black and His Orchestra ∙ Frank Black\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n13. \u003cstrong\u003eGERSHWIN Rhapsody in Blue \u003c\/strong\u003e(8:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 September 1927 in Berlin ∙ Matrices: 2-20351 \u0026amp; 2-20352 ∙\nFirst issued on Parlophon P-9157\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eMischa Spoliansky (piano)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eJulian Fuhs’ Symphony Orchestra ∙ Julian Fuhs\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\nSpecial thanks to Nathan Brown, Jim Cartwright’s Immortal Performances Inc.\nof Austin, TX, Charles Niss and David Schmutz for providing source material.\u003cbr\u003eCover artwork based on a photograph of George Gershwin. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 30:48 \u003c\/b\u003e     CD1: 73:58     CD2: 76:50 \u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC637.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC637.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064690307162,"sku":"nsu1789303233901","price":17.62,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064690339930,"sku":"clu1789303233902","price":14.83,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/gershwin-the-first-recordings-1924-1949---pasc637_1.jpg?v=1789303253","url":"https:\/\/vestorawear.shop\/products\/gershwin-the-first-recordings-1924-1949-pasc637","provider":"My Store","version":"1.0","type":"link"}