GEORGE GERSHWIN Piano PRELUDES No. 1, 2,3 COLUMBIA 7192-M 12" 78 RPM
$
90
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Description
GEORGE GERSHWIN on piano playing
"Prelundes No. 1, 2 and 3"
Label: COLUMBIA 7192-M
Condition: VG with some scuffs visually graded
In a paper columbia sleeve
Notes:
Record surface shows minor signs of wear and marks
Cleaned with our Spin Clean
I will ship insured with priority mail.
Please Email Any questions prior to buying.
Thank you so much for your interest!
Here is some info from Wikipedia:
1. Allegro ben ritmato e deciso
The first prelude, in B flat major, begins with a five-note blues motif; virtually all the melodic material in the piece is based on this theme. Syncopated rhythms based on the Brazilian baião and chords containing flattened sevenths occur throughout; these give the piece a strong jazz feel. Although these sounds are far from adventurous by modern standards, to the audiences of the late 1920s they were almost unheard of. Structurally, the piece is in ternary form; however, the impression on the listener is that of a fantasia. This effect is achieved by using snippets of various virtuoso techniques, such as repeated notes, octaves, scales, and crossed hands, each of which is used for only a moment before the piece catches a flicker of some new idea.
2. Andante con moto e poco rubato
The second Prelude, in C sharp minor, also has the distinct flavour of jazz. The piece begins with a subdued melody winding its way above a smooth, steady bassline. The harmonies and melodies of this piece are built on thirds, emphasizing both the interval of the seventh and the major/minor duality of the blues scale. In the second section, the key, tempo, and thematic material all change; only the similarity of style binds the two sections together. The opening melody and bass return in the final section, more succinct but otherwise unchanged, and the piece ends with a slow ascent of the keyboard. Gershwin himself referred to the piece as "a sort of blues lullaby."
3. Agitato
Early listeners called the third Prelude, in E flat minor, "Spanish", but modern ears may find this description puzzling. (This is analogous to the description of Mozart’s Rondo alla turca by his contemporaries as “Oriental”; in the present day, it sounds Viennese more than anything else.) After a brief and dramatic introduction, the main theme is revealed: two melodies that together form a question-and-answer pair. This pair is used throughout to provide harmonic structure, with the question harmonised using E-flat minor chords, while the answer is harmonised with E-flat major chords. After a brief, highly syncopated middle section, the melodic pair returns assertively in octaves, causing a battle between major and minor. Major eventually wins, and the piece concludes with a flourish.
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