Download S. Germain

The Music of Gershwin. By Steven E. Gilbert, edited by Allen Forte. New Haven: Yale
University Press, 1995. [xi, 255 p. ISBN 0300062338. $17.48.] [UCF Library:
ML410.G288 G55 1995]
George Gershwin, the son of poor Russian emigrants, an accidental piano player
turned plugger turned composer, was one of the major contributing factors to American
music. Since his rise to fame in the early twentieth century, he has been a catalyst for
biographical study and the creation of scholarly literature. Intellectuals have pored over
sources and manuscripts looking for windows into the complex life and career of Gershwin,
but it was not until Steven E. Gilbert that a full exploration of his musical endeavors came
about. Gilbert’s book, The Music of Gershwin, is described by The Musical Times as being the
“first in-depth analysis of Gershwin’s entire compositional oeuvre, including his concert
music.” (Musical Times Publications Ltd., 1996.)
In his preface, Gilbert talks to us about his childhood and how it influenced his
interest, or, rather, disinterest, in Gershwin. He originally assumed Gershwin had no merit,
that he was an “unschooled composer of semi-popular music,” (p. ix) but later in life came to
believe that the beauty of Gershwin’s music lay in its analysis. Throughout the pages of his
book, he draws examples of Schenkerian analytical approaches to the music and arrives at
astute conclusions. This is not surprising to the reviewer, considering Gilbert and his editor,
Allen Forte, had earlier collaborated on Introduction to Schenkerian Analysis (New York: W.
W. Norton, 1982.) However, though Gilbert often uses a casual and conversational tone in
his writing, his entire section on analysis points to a strong and apparent bias.
Because of his background in Schenkerism, it is understandable that Gilbert’s book
will contain such detailed analysis in this style, but this seems to displease many readers
and reviewers. For example, Geoffrey Block described Gilbert’s chapter on analysis as being
alienating to readers and superfluous in content. (Music Library Association, 1997.) It was
noted by this reviewer that his second chapter on analysis was not only confusing to read
without a solid knowledge of Schenkerian analysis, but also seemed more self-justifying
than informative.
With 256 pages, eleven detailed chapters, and 169 musical examples, The Music of
Gershwin seems to efficiently cover the entire span of Gershwin’s career. In Steve Larson’s
review appearing in Music Theory Spectrum, he points out Gilbert’s convenient outline of
four major time periods in Gershwin’s career: the early period, pre-1924, the developing
period, 1924-30, the mature period, 1931-35, and the final period, 1936-37. Rhapsody in
Blue and Porgy and Bess each have individual chapters devoted to them, with Concerto in F
and An American in Paris sharing a third. Though at first glance it seemed these chapters
would be overwhelming to the reader and overbearing in relation to the rest of the book,
Gilbert is able to successfully balance out all of Gershwin’= s most popular works, and even
dives into some of his less well-known music. (Oxford University Press, 1999.)
The strengths of this book are obvious and the information is still relevant today.
Gilbert gives us the first ever comprehensive and analytical look at Gershwin’s entire
musical timeline. He includes a plethora of illustrations of Gershwin’s music, some original
manuscripts, many of which being the first versions ever published. Despite its slight bias in
favor of Schenkerian theory, The Music of Gershwin lives up to its title and offers valuable
insight for both students and scholars.
Sarah Germain