GERSHWIN An American in Paris
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- Опубликовано: 26 мар 2018
- DSO French Festival included performances of a newly published, completely restored version of An American in Paris, one component of a recent project titled The George and Ira Gershwin Critical Edition.
The initiative is a partnership between Todd Gershwin (great-nephew of brothers George and Ira) and his alma mater, the University of Michigan School of Music, Theatre & Dance.
I think this is the best performance of American in Paris that I've ever listened to! Played with great enthusiasm and artistry by the DSO. Bravo!
This performance is, by far, the best on RUclips. This orchestra is truly outstanding, and captures the essence of George Gershwin and his style in a way that I have yet to hear be beat.
Agreed
Probably THE best rendition of this song that I have EVER heard. If I were there in person, I would have cried. Gershwin would have been just as emotionally provoked. I am blown away by this orchestra!
For eveyone commenting on the Taxi horns, this is how they are supposed to sound. For decades the wrong pitches were used. This performance uses the pitches as Gershwin intended.
no one cares
@@theoneandonlyDaveDraws everyone cares thank you ProjeKtCamus I was very confused because of the Taxi horns.
@@eliaspatzelt7243 ok
@@theoneandonlyDaveDraws You're very wrong.
@@genedryer-bivins8314 l guess you dont know when people kid, right? Also let me have my opinion
Beautiful. Thank you for posting it.
Classic Gershwin.
Good job, Detroit Symphony Orchestra and Leonard Slatkin!
Thank you for a superb performance and true rendition . I`m sure Gershwin himself would have been proud to hear this .
In my life, I've heard the most beautiful music that shook me to my core and brought tears to my eyes. So often. Music is what really rules me and my soul, yet I can't play a single instrument, although I try. Frankly, that was a long time ago that I fired up my Yahama electric grand piano. I feel it more deeply than just about anything. Gershwin, Bernstein, Grofe, Mozart and so many more. Gershwin's "American in Paris" is probably my most favorite. So soulful and sexy as all of Gershwin's music was. Just listen to "Porgy and Bess" sometime. I swear, he must have been a black slave in his previous lifetime to produce such music from his heart. Those minor notes always move me somehow. I don't know where that comes from. "American in Paris'" movie is even better with the exquisite dancing of Gene Kelly and Leslie Caron, the incredible little ballerina, who was just a child when the movie was shot. Whenever it's on TV, I drop everything to watch it all over again, for more than two dozen times now. Plus, I'm lucky enough to have the soundtrack on CD that I still listen to regularly. There is something about this piece of music that rocks me. There is nothing more beautiful to me than the sound of violins, violas, brass and piano which Gershwin did so perfectly and like no one else.
I agree with all you say except, although I once loved the movie, I do no longer. Several years ago there was a new realization of the story for stage, a version of greater depth and substance, and less "Hollywood". After its "out of town" tryout, it opened on Broadway, later transferring to London, with great success in both seasons. It was on RUclips for 48 hours. The leads were from the Royal Ballet, London, and New York City Ballet. Kelly can't be surpassed in tap dancing, but he is good rather than brilliant in ballet. The stage version was more ballet-oriented. It's casting was so demanding, I thought it would never appear again, but the Australian Ballet has announced a 6-month season for 2022, so it's not lost.
@@bryangl1 No one tops Leslie Caron in this role on film.
@@maccallumpr Oops - my oversight. You are quite correct. The ballerina in the stage version, everything taken in balance, would be her equal however. But I'm open to other opinions as Caron was outstanding, a true highlight of the film.
@@bryangl1 She was matchless. Leslie Caron. No one can top her performance in the film. No stage crap. She gave it everything she had and I think it was obvious to everyone who ever really watched the film.
@@maccallumpr Quite true. And the same applies in the stage version. The two versions can't be compared as they are different animals - created at different times, for different media, for different audiences. Pertinent to your valid observation, the stage version makes essentially no use of high-tech staging. Sets/backgrounds are created on various shaped "flats" that I guess are digital screens, always with simple, creative imagery moved around by the ballet-chorus in choreographed movement. It makes all changes part of the production and its ballet content. Difficult to describe although easy to see. And while the spectacle of modern high-tech staging is absent, this is spectacular in its own creative way, with one absolutely breath-taking change where an immediately post-war quiet Paris night-club, in a few seconds becomes the Roxy N. Y. (I think I have the right theatre, semi-circular stage proscenium) and a full hi-glit 20s tap routine of "Stairway to Paradise';
Astoundingly marvelous!
Happy Birthday, George Gershwin! Thank you for all the wonderful music. And thanks to these performers for such a marvelous rendition.
Thank you DSO for giving people around the world access to your performances, I really love your version of Gershwin's An American In Paris, it is conducted and played both cheerfully and passionately
ok
Tremendous work, it gets better with time. One of the most memorable pieces ever written for an orchestra. Listening to it makes me forget the dreadful times we need to endure nowadays.There is an interesting version on YT by the Cincinnati Orchestra with added measures, longer final.
As good as it gets. Gershwin would love it.
Amazing piece of music 🎶🎼🎵❤️
Absolutely amazing performance
Thank you for sharing. Among the top 3 finest interpretations (not to mention flawless executions) of this ingenious tone poem, the best one ever composed by an American, in my view. And I've heard dozens. The unconventional pitches (and unexpected pairings) chosen for the taxi horns were only one of many new approaches taken by this expert and seasoned conductor.
EXCELLENT PERFORMANCE!!! Getting this piece right is precisely about understanding how to properly *layer* all those overlapping textures; it's exactly like the sounds of traffic as Gershwin imagined. Knowing how much prominence to give each layer, when to lay into the swing rhythm versus when to cakewalk them straighter, when to gracefully fall from one phrase into another... all incredibly difficult to get right. This is a textbook performance; nothing daring or brash or fierce or innovative, but almost everything exactly as it should be. That trumpet solo at 7:46 is absolutely spot on. Just mean enough without becoming bawdy. VERY well done.
A glorious rendition of a true gem.
Of course the American orchestra has the best recording I've heard so far! Bravo
Not only is it a joy to hear this textually restored version of Gershwin's great score, it's also a special treat to hear the orchestra play the piece so idiomatically ─ far too many performances "straighten" the jazz influenced elements of the score (in many ways it's unfair to single out any of the first desk solos, but the trumpet solo passages in partcular have a wonderful "blues" feel). Then in a time when the city of Detroit is suffering from economic depression, the DSO is revealing itsef to still be one of the great American orchestras (even though this work represents slightly lighter repertoire). Congratuations to all, and thank you.
In many performances, you're right...the soulful nuances are ignored. The bending of the strings, the ratcheting up of the brass in stretching and bending of those beautiful notes. So distinctive as it was meant to be. This particular performance is stellar.
Wait, I'm sorry. "Slightly lighter repertoire"? Please elaborate
@@finn8474 Hi, I think that phrase speaks for itself. But if you missed the hyperbole; although "American in Paris" represents a great achievement for Gershwin, and is a great piece of music in itself, it is a work not sufficiently "symphonic" (or "classical" if you prefer) for orchestras to include in their usual repertoire. Correctly performed, it's relatively lightweight. And the version we usually hear for full orchestra, emerged after Gershwin's death (if memory serves me correctly). And not many orchestral players can really manage the clarinet gliss at the opening, or get a true blues feeling throughout (esp. the trumpet solos). And . . . shall I go on?
What a GREAT artist Gershwin was.
Bravo and Bravisimo... PERFECT... Divine... Wonderful... Extraordinary George G.... Epic...
Marking Licks for Auditions, don't mind me, I gotta play these parts on xylo lol:
0:30 - 0:50
2:58 - 3:15
4:54 - 5:27
13:39 - 13:51
16:43 - 16:48
17:22 - 17:30
Bravo. Probably the best performance I've heard. At last we are starting to hear Gershwin's music as he wrote and orchestrated it. I can't wait to hear the Second Rhapsody restored to Gershwin's orchestration.
Awesome orchestra
sorry to be so offtopic but does anyone know a way to get back into an Instagram account..?
I was dumb forgot the account password. I would appreciate any assistance you can give me
@Jakob Cayson Instablaster ;)
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I see it takes a while so I will reply here later when my account password hopefully is recovered.
@Moses Maximiliano HOLY **** IT REALLY WORKED! Literally hacked my Instagram account details within about 45 minutes by using the site.
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Thanks so much, you saved my ass!
My first figure skating competition song !
Interesting. Thanks.
A triumphal performance!
Delightful 🥰
Bravo!
The cars you can forget anyway. I have the memory of the great Motown 60ties R&B in my hears. This conductor has the essence of George. During his rehearsals he obviously taught to the classical group of musicians how to groove.
Whenever I hear this gene kelly comes to mind...
While the ballet is about as long as Gershwin's original, it was rearranged and reorchestrated by movie composer/arranger Johnny Green. What we hear in the movie is significantly changed.
Yes that wonderful dance scene in a fontain... 💙💙💙💙💙
awesome. what gershwin would've wanted
Love Slatkin and this Orchestra
This is the Honorable George Gershwin in the
20 th Century
4:10 this score is revised, the more popular version has a few bars here with basses, bassoon and, bass clarinet that are missing here.
I love how this is the Detroit Symphony, but RUclips's copyright system thinks this is the Saint Louis Symphony.
it's because this is not a commercially available recording, so youtube finds the closest one. youtube also gives higher priority to umg.
@@PianoHypnoshroom I get that problem with the videos I put up, getting copyright strikes even though the performer in question isn't the one in my video.
@@SynchroScore Getting a strike? Wow, they usually only do demonetizations.
@@PianoHypnoshroom I can't monetize my videos to begin with, but they can block a video entirely if there is a copyright claim against it. The claim can be disputed, and I've gotten a few unblocked because they were clearly made in error by the automated system.
Out of this world amen.
Magnífico
É importante enfatizar que a orquestra de Detroit, talvez a mais afinada das americanas, prima por sua excelência nas apresentações, com a mesma categoria, seja em estúdio ou ao vivo. Bravo !
17:30 isn't there supposed to be a timp roll in before the scale run?
Yes it was supposed to do
Anyone know if this was recorded on vinyl or CD for purchase? DSO website is only listing mugs and t-shirts
That is Cassandra playing 1st Chair Oboe
Awesome Performance! Does anyone know the name of the conductor? i
❤Listen for the Jazzy Solo by McRae
RHS Band 1960
I give George his due but IRA is very underrated and unappreciated. Without IRA George would not have made it.
Same for Leyendecker brothers. One made his name and got famous, while his brother was working hard. Both were talented, and better when they worked together.
Bravo
bravi
To be honest really bad of the director of this clip to not film the trumpetists solo. That's just bad.
Exactly! Such a shame, as he played it fantastically.
A split infinitive...to be honest
bravo
7:34 four bars before trumpet solo
Salut les 6°C
One of the last good things left in Detroit.
oh? did the Saint Louis Symphony Orchestra pack up and move to detroit? hunh....
@@babagalacticus you guys should fight lol
@@richardrichardson7420 why? to entertain your narrow incel princeling behind? 🤮🤪🤢🙊🦌🦍🤡👻🧔🤺👊🤣😳
Ratio
7:46 best part
Tuck_Rex I learned the clarinet solo a few weeks ago, and I’m asking my bd to let me play it at our next jazz concert(I play sax in jazz band unless there’s a clarinet solo or part.) There’s a really good quintet arrangement
Yeo
Was this used in any movies, it sounds great and makes me see a story!
Yeah. It's called "American in Paris." Duh.
Lol
With Gene Kelly
Why are there 30 people who downvoted this? This is real country music.
Our country. Yes. Gershwin was an "American" and so was his music.
@@maccallumpr Thanks very much for the reply, as I was drawn back to view this once more.
Where was the 3rd trombone solo. Did I miss it?
Is this DSO or St. Louis?
1:00
Is it bad that i prefer the wrong horn pitches?
14:21 Percussionist concentrating hard to make sure he gets it right
7:33
7:35 12:30
8:38
Tuba Excerpt 15:45
i liked the part where it goes bum bum bum bwum behhh bumm bum bum bum buh behhmm bum
oh i was reminded of tom and jerry
Me too, all i have in mind is classic cartoons
Why are always 'to be honest' comments so negative? So don't watch!
Great! But ,please,more cow-bells ah.. taxi-horns!
10:40
Hate to throw cold water on this otherwise excellent performance, but the passage that's usually cut -- remains cut from this "scholarly" edition. The cut passage would have been heard after 15:10. For a comparison, see Gerard Schwarz's truly uncut version, with the cut passage at 15:43-17:24. So how can the DSO call theirs a "completely restored version" when it's not?
To say nothing of other unrestored cuts at 16:24, 16:44 and 16:59--for those passages, check out Schwarz: 18:33-19:15, 19:35-20:01 and 20:16-20:22. It's too bad Schwarz recorded before restoration work was done, correcting the taxihorns, dynamics, articulation, etc. In every other respect, the DSO presents a restored version. But it's truly not completely restored unless all cuts are reinstated. Schwarz had the right idea. We're still waiting for an all-around critical restoration of "An American in Paris."
Yoo Passage
@@michaelrydzynski8307 I'm with the Gershwin edition, and we have made two editions of An American in Paris. This performance (which a colleague and I attended) by the DSO uses the standard version, in which the cut material is included in an appendix and is not given in the performance parts. This is the version approved by George in the 1929 recording conducted by Nathaniel Shilkret, on which the composer played the celesta. We also make available the full 785-measure score (i.e., what Gerry Schwarz recorded), which we believe showcases George's compositional craft (much of what was cut was development). Personally, I'm also hoping for more performances of the original, longer version.
Also, our edition restores all the saxophones - Frank Campbell-Watson simplified them and removed the trio of sopranos!
P. S. Here is a recording of the new edition, uncut version:
ruclips.net/video/pFF3pzMUwDk/видео.html
That is not an orchestra. It is a machine...
who is the conductor of this?
some nobody named leonard slatkin.
Leonard Slatkin
Good playing by the DSO let down by some bad camera work and Leonard Slatkin who when ever I have seen him in concert doesn’t seem to get any better at conducting he just goes through the motions of conducting with no passion for the orch but I bet he gets well paid for doing nothing except wave his arms around with passion sadly lacking.
Yeah, who's leading who.
What the heck is going on with the emulated taxi horns? I've listened to this piece for over 50 years. Poor choice for the pitches, I must say.
I think the pitchiness was intentional. I've never been a fan of the car horns, though. Otherwise great piece.
The pitches are intentional. See the following article: smtd.umich.edu/ami/gershwin/?p=715
Yeah they're not really in key other recordings of this song have the pitches matching better
Mostly we've been hearing the wrong pitches over the years. This performance follows Nat Shilkret's recording, for which Gershwin plays the celesta.
Whenever I hear this gene kelly comes to mind...
I love the brass used as car horns!
odd, whenever I hear it, the gershwin brothers comes to mind especially ira.