egroj world: George Gershwin • Piano Rolls

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As many of you may have noticed apart from the Ulozto problem the main Mega account has been suspended, therefore the blog will be temporarily down until we can restructure and normalise the blog. I appreciate all the support you have shown me. Thank you for your understanding.

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Thursday, July 15, 2021

George Gershwin • Piano Rolls



Review by Scott Yanow
George Gershwin made 130 piano rolls between 1916-1927; 28 were recorded and released in 1998 on two Nonesuch CDs. This particular release has quite a few obscure Gershwin songs, including his very first tune, "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em." Certainly such tunes as "Novelette in Fourths," "So Am I," and "Idle Dreams" are long forgotten but worth reviving. Among the other highlights of the fascinating and highly enjoyable recital are "Sweet and Lowdown," "Swanee" and a 14-minute rendition of "Rhapsody in Blue." The 1933 item is a bit unusual, for it is a two-piano rendition of "An American in Paris" that lasts over 16 minutes and was arranged by Frank Milne. Well worth exploring.

 Editorial Reviews:
Imagine hearing George Gershwin play his own compositions in pristine sound! Pianist/scholar Artis Wodehouse transferred the rarest and most desirable of the over 130 piano rolls Gershwin made for player piano to the Yamaha Disklavier, which reproduced Gershwin's own performances on a 9-foot concert grand (or, in the case of American in Paris , two concert grands!).
 
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Reseña de Scott Yanow
George Gershwin hizo 130 rollos de piano entre 1916-1927; 28 fueron grabados y publicados en 1998 en dos CDs de Nonesuch. Este lanzamiento en particular tiene bastantes canciones oscuras de Gershwin, incluyendo su primera melodía, "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em". Ciertamente, melodías como "Novelette in Fourths", "So Am I" y "Idle Dreams" están olvidadas desde hace tiempo, pero merece la pena revivirlas. Entre los otros puntos destacados del fascinante y muy agradable recital están "Sweet and Lowdown", "Swanee" y una interpretación de 14 minutos de "Rhapsody in Blue". El tema de 1933 es un poco inusual, ya que se trata de una interpretación a dos pianos de "An American in Paris" que dura más de 16 minutos y fue arreglada por Frank Milne. Merece la pena explorarlo.

Reseñas editoriales:
Imagine escuchar a George Gershwin tocar sus propias composiciones con un sonido prístino. El pianista/estudioso Artis Wodehouse transfirió los más raros y deseables de los más de 130 rollos de piano que Gershwin hizo para el piano de cola al Yamaha Disklavier, que reproduce las propias interpretaciones de Gershwin en un piano de cola de 9 pies (o, en el caso de American in Paris , ¡dos pianos de cola!).


Tracklist:
1. Sweet And Lowdown
2. Novelette In Fourths
3. That Certain Feeling
4. So Am I
5. Rhapsody In Blue
6. Swanee
7. When You Want 'Em, You Can't Get 'Em...
8. Kickin' The Clouds Away
9. Idol Dreams
10. On My Mind The Whole Night Long
11. Scandal Walk
12. An American In Paris

Credits:
Performer [Pianola Operated By], Other [Booklet Notes By] – Artis Wodehouse
Producer, Engineer – Max Wilcox
Songwriter, Arranged By [Piano Rolls] – George Gershwin
Technician [Player Piano Simulation Programmed By] – Richard Brandle
Technician [Rolls Converted By] – Richard Tonnesen

Notes:
Reconstruction of George Gershwin's own piano playing, using piano rolls that he arranged himself between 1916 and 1933.

Produced and engineered between November 1992 and June 1993 at the American Academy of Arts and Letters, New York City.
Original piano rolls courtesy of Keystone Music Roll Company.

Arrangement of track 12 is originally credited to "Milne and Leith", which is in reality only one person. The complexity of the arrangement would have required a four-handed piano performance, which Milne faked by also giving credits to his own pseudonym "Leith".

Some piano rolls were played back by a 1911 Pianola vorsetzer (operated by Wodehouse), which in turn operated a 9-foot Yamaha Disklavier grand piano. Other rolls were converted to MIDI files (by Tonnesen and Brandle), which could be fed directly to the Disklavier.
The Disklavier's performance is what is recorded on this release.






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