An American in Paris#Trivia

Although the story is likely apocryphal,{{Cite book |last=Schwartz |first=Charles |url=https://archive.org/details/gershwinhislifem00sch_3az |title=George Gershwin: His Life and Music |date=1973 |isbn=0-672-51662-4 |url-access=registration|page=154|publisher=Bobbs-Merrill Company}} Gershwin is said to have been attracted by Maurice Ravel's unusual chords, and Gershwin went on his first trip to Paris in 1926 ready to study with Ravel. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he could not teach him, saying, "Why be a second-rate Ravel when you can be a first-rate Gershwin?"{{Cite magazine |last=Schiff |first=David |author-link=David Schiff |date=October 1, 1998 |title=Misunderstanding Gershwin |url=https://www.theatlantic.com/magazine/archive/1998/10/misunderstanding-gershwin/377252/ |url-status=live |magazine=The Atlantic |archive-url=https://web.archive.org/web/20181215222801/https://www.theatlantic.com/magazine/archive/1998/10/misunderstanding-gershwin/377252/ |archive-date=Dec 15, 2018 |access-date=December 11, 2018 |url-access=subscription}}

Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitz, a pianist Ravel had met during the war, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $10,000 fee for the tour, an enticement Gershwin knew would be important to Ravel.{{Cite book |url=https://archive.org/details/bolerolifeofmaur1940goss |title=Bolero: the life of Maurice Ravel |last=Goss |first=Madeleine |publisher=New York, H. Holt and Company |year=1940 |pages=[https://archive.org/details/bolerolifeofmaur1940goss/page/216 216]–219}}{{citation needed|date=December 2018|reason=for Gershwin's involvement}}

Gershwin greeted Ravel in New York in March 1928 during a party held for Ravel's birthday by Éva Gauthier.{{Cite web |url=https://csosoundsandstories.org/fascinatin-rhythm-when-ravel-met-gershwin-in-jazz-age-new-york/ |title=Fascinatin' rhythm: When Ravel met Gershwin in Jazz Age New York |last=Burton |first=Louise |date=May 26, 2015 |website=CSO Sounds & Stories |publisher=Chicago Symphony Orchestra |access-date=December 11, 2018 |archive-date=January 21, 2022 |archive-url=https://web.archive.org/web/20220121135409/https://csosoundsandstories.org/fascinatin-rhythm-when-ravel-met-gershwin-in-jazz-age-new-york/ |url-status=dead }} Ravel's tour reignited Gershwin's desire to return to Paris, which he and his brother Ira did after meeting Ravel. Ravel's high praise of Gershwin in an introductory letter to Nadia Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after he played for her, she told him she could not teach him. Boulanger gave Gershwin basically the same advice she gave all her accomplished master students: "What could I give you that you haven't already got?"{{cite book|url=https://books.google.com/books?id=_-VcUAeWQr0C&pg=PA71|title=Nadia Boulanger|author=Jérôme Spycket|publisher=Pendragon Press|year=1992|isbn=978-0-945193-38-8|pages=71–73}} This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his Rhapsody in Blue. Paris at this time hosted many expatriate writers, among them Ezra Pound, W. B. Yeats, Ernest Hemingway, F. Scott Fitzgerald and artist Pablo Picasso.LSRI Archives Oral Interview Anita Loos and Mary Anita Loos October 1979 re: letters and Ravel's telegram to Gershwin

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|pos=top|align=left|caption=Themes of An American in Paris and melody fragment from La Sorella}}

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Gershwin based An American in Paris on a melodic fragment called "Very Parisienne",{{Cite web |url=http://gershwin.com/publications/an-american-in-paris-concert-work/ |title=An American in Paris |website=Gershwin Enterprises |access-date=December 11, 2018 }} written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. Gershwin called it "a rhapsodic ballet"; it is written freely and in a much more modern idiom than his prior works.{{cite book|url=https://archive.org/details/gershwinyearsgeo00jabl|url-access=registration|title=The Gershwin Years: George And Ira|author-last1= Jablonski|author-first1=Edward|author-link=Edward Jablonski|author-last2=Stewart|author-first2=Lawrence D.|publisher=Da Capo Press|year=1958|isbn=978-0-306-80739-8|pages=[https://archive.org/details/gershwinyearsgeo00jabl/page/138 138]–141}}

Gershwin explained in Musical America, "My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere."{{cite book|url=https://books.google.com/books?id=RySwdc151ZoC&pg=PA431|title=George Gershwin: His Life and Work|author-last1=Pollack |author-first1=Howard|author-link=Howard Pollack|date=January 15, 2007|publisher=University of California Press|isbn=978-0-520-93314-9|pages=119, 431–440}}{{Cite web |title=An American in Paris performance material|url=https://www.schott-music.com/en/an-american-in-paris-no251041.html|access-date=2022-12-12|publisher=Schott Music}}

The piece is structured into five sections, which culminate in a loose A–B–A format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio".{{cite thesis|last=Van Dyke|first=Joseph M.|year=2011|title=George Gershwin's An American in Paris for Two Pianos: A Critical Score Study and Performance Guide|type=Doctoral thesis|location=Columbus, Ohio|publisher=OhioLINK Electronic Theses and Dissertations Center|url=https://etd.ohiolink.edu/pg_10?0::NO:10:P10_ACCESSION_NUM:osu1298660291|access-date=September 14, 2017|archive-date=September 14, 2017|archive-url=https://web.archive.org/web/20170914172912/https://etd.ohiolink.edu/pg_10?0::NO:10:P10_ACCESSION_NUM:osu1298660291|url-status=dead}} The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. It also includes a melody fragment of the song "La Sorella" by Charles Borel-Clerc (1879–1959) (published in 1905).{{cite book |title=George Gershwin's An American in Paris |author-last1=Daly |author-first1=William |contributor-last1=Taylor |contributor-first1=Deems |contribution=Commentary |year=1929 |page=36 |publisher=New World Music |location=New York}}

The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness.{{cite journal |author1=Howard Pollack |author1-link=Howard Pollack |editor1-last=Beatty |editor1-first=Mary Lou |title=Car-Horns, Cafes and Can Can |journal=Humanities |date=November-December 2006 |volume=27 |issue=6 |pages=12-13 |publisher=National Endowment for the Humanities}} The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final "Grandioso".

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|footer = Conductor Walter Damrosch (left) and composer George Gershwin (right)

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Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of An American in Paris. He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses."{{Cite web |date=2013-09-08 |title=Who Could Ask For Anything More |url=https://smtd.umich.edu/ami/gershwin/?parallax-sections=who-could-ask-for-anything-more |access-date=2022-12-12 |website=The Gershwin Initiative Website}}

Critics believed that An American in Paris was better crafted than Gershwin's Concerto in F. Evening Post did not think it belonged in a program with classical composers César Franck, Richard Wagner, or Guillaume Lekeu on its premiere. Gershwin responded to the critics:

{{Blockquote|It's not a Beethoven Symphony, you know... It's a humorous piece, nothing solemn about it. It's not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.}}

An American in Paris was originally scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, ratchet, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C, and D with circles around them (but tuned as follows: A=Ab, B=Bb, C=D, and D=low A), alto saxophone, tenor saxophone, baritone saxophone (all doubling soprano and alto saxophones), and strings.{{Cite web|url=http://archives.nyphil.org/index.php/artifact/47d1f79a-8ea6-4aba-964f-989cb5dc2cd7/fullview#page/4/mode/2up|title=George Gershwin: An American in Paris (original score)|website=New York Philharmonic Archives|archive-url=https://web.archive.org/web/20170904200637/http://archives.nyphil.org/index.php/artifact/47d1f79a-8ea6-4aba-964f-989cb5dc2cd7/fullview#page/4/mode/2up|archive-date=September 4, 2017|url-status=dead|access-date=September 4, 2017|df=mdy-all}}{{Cite book|url=https://www.schott-music.com/en/preview/viewer/index/?idx=MjUxMDQx&idy=251041&dl=0|title=An American in Paris|author=George Gershwin|year=1930|type=full orchestral score|publisher=Chappell & Co.|location=London|access-date=2023-07-25|via=Schott Music}} Although most modern audiences have heard the taxi horns using the incorrect notes of A, B, C, and D, it had been Gershwin's intention to use the notes A{{Music|flat}}₄, B{{Music|flat}}₄, D₅, and A₃.{{cite news|url=https://www.nytimes.com/2016/03/02/theater/have-we-been-playing-gershwin-wrong-for-70-years.html|title=Have We Been Playing Gershwin Wrong for 70 Years?|last=Cooper |first=Michael |date=March 1, 2016|newspaper=The New York Times|access-date=April 6, 2016 }} It is likely that in labeling the taxi horns as A, B, C, and D with circles, he was referring to the four horns, and not the notes that they played. The correct tuning of the horns in sequence = D horn = low Ab, A horn = Ab an octave higher, B horn = Bb just above the Ab, and C horn = high D above the Bb. {{cite web|url=http://www.music.umich.edu/ami/gershwin/?p=715 |last=Clague |first=Mark |title=1929 Gershwin Taxi Horn Photo Clarifies Mystery|publisher=University of Michigan School of Music, Theatre & Dance|date=March 5, 2016|access-date=April 6, 2016 }}

A major revision of the work by composer and arranger F. Campbell-Watson simplified the instrumentation by reducing the saxophones to only three instruments: alto, tenor and baritone; the soprano and alto saxophone doublings were eliminated to avoid changing instruments.{{efn|1=Compare the original 1930 publication and Frank Campbell-Watson revision, both published by New World Music Corporation (New York); the date on both publications is 1930, although the revision is ca. 1942. The original is reprinted by Musikproduktion Hoeflich (Munich), Repertoire Explorer No. 4007 (2018), although James Dalton's preface incorrectly states this reprint has the Campbell-Watson revisions.{{cite web|url=https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/4007.html|title=George Gershwin – An American in Paris – Preface|author=James Dalton|date=2018|access-date=July 25, 2022|website=repertoire-explorer.musikmph.de}} The relevant saxophone passages may be found on pages 76–94 in both scores.}} This became the standard performing edition until 2000, when Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in Campbell-Watson's revision.{{cite web|url= http://www.jackgibbons.com/reviews.htm|title=Musical Opinion review of Gershwin Spectacular|access-date=June 28, 2017 }} Gibbons' restored orchestration of An American in Paris was performed at London's Queen Elizabeth Hall on July 9, 2000, by the City of Oxford Orchestra conducted by Levon Parikian.

William Daly arranged the score for piano solo; this was published by New World Music in 1929.{{Cite web |url=https://ljms.org/directory/ |title=CMS: An American in Paris Program Notes |last=Rodda |first=Richard E. |date=2013 |website=La Jolla Music Society |access-date=December 11, 2018 |archive-date=August 13, 2018 |archive-url=https://web.archive.org/web/20180813075416/https://ljms.org/directory |url-status=dead }}{{Cite web |url=http://www.free-scores.com/download-sheet-music.php?pdf=82579 |title=Free sheet music : Gershwin, George – An American in Paris (Piano solo) |website=www.free-scores.com |access-date=December 11, 2018 }}

On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score would be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, were working to make scores available to the public that represent Gershwin's true intent. It was unknown whether the critical score would include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score would document changes in the orchestration during Gershwin's composition process.{{cite web|url=https://www.pbs.org/newshour/arts/new-critical-edition-of-george-and-ira-gershwins-works-to-be-compiled |title=New, critical edition of George and Ira Gershwin's works to be compiled|work=PBS NewsHour|date=September 14, 2013 |access-date=April 6, 2016}}

The score to An American in Paris was scheduled to be issued first in a series of scores to be released. The entire project was expected to take 30 to 40 years to complete, but An American in Paris was planned to be an early volume in the series.{{cite web|url=http://www.music.umich.edu/ami/gershwin/?page_id=59 |title=The Editions » Gershwin |website=Music.umich.edu |date= September 8, 2013|access-date=April 6, 2016}}{{cite web |url=http://musicologynow.ams-net.org/2013/09/george-and-ira-gershwin-critical-edition_20.html |title=Musicology Now: George and Ira Gershwin Critical Edition |website=Musicologynow.ams-net.org |date=September 17, 2013 |access-date=April 6, 2016 |archive-url=https://web.archive.org/web/20181215122523/http://musicologynow.ams-net.org/2013/09/george-and-ira-gershwin-critical-edition_20.html |archive-date=December 15, 2018 |url-status=dead }}

Two urtext editions of the work were published by the German publisher B-Note Music in 2015. The changes made by Campbell-Watson were withdrawn in both editions. In the extended urtext, 120 bars of music were re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance.{{cite web |title=An American in Paris Urtext | url=https://www.bnote.de/?set=werk_detail&kompid=246&bnnr=16963&lc=en|website=Bnote.de |access-date=December 14, 2015}}

On September 9, 2017, The Cincinnati Symphony Orchestra gave the world premiere of the long-awaited critical edition of the piece prepared by Mark Clague, director of the Gershwin initiative at the University of Michigan. This performance was of the original 1928 orchestration.{{cite web |url= https://www.eamdc.com/news/critical-edition-of-george-gershwins-an-american-in-paris-debuts-with-the-cincinnati-and-atlanta-symphony-orchestras/ |title= Critical Edition of George Gershwin's An American in Paris Debuts with the Cincinnati and Atlanta Symphony Orchestras |date=September 1, 2017 |access-date=July 18, 2021}}

An American in Paris has been frequently recorded.{{Cite web |title=An American in Paris by George Gershwin|url=https://www.whosampled.com/George-Gershwin/An-American-in-Paris/ |access-date=2022-12-12|website=WhoSampled}} The first recording was made for the Victor Talking Machine Company in 1929 with Nathaniel Shilkret conducting the Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio.{{cite book|url=https://books.google.com/books?id=RySwdc151ZoC&pg=PA431|title=George Gershwin: His Life and Work|author-last1=Pollack |author-first1=Howard|author-link=Howard Pollack|date=January 15, 2007|publisher=University of California Press|isbn=978-0-520-93314-9 |page=774}} Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording.{{cite book |last1=Sullivan |first1=Steve |title=Encyclopedia of great popular song recordings |date=2013 |publisher=Scarecrow Press |isbn=978-0810882959 |page=32}} This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A-flat, B-flat, a higher D, and a lower A.

The radio broadcast of the September 8, 1937, Hollywood Bowl George Gershwin Memorial Concert, in which An American in Paris, also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set.{{cite web |title=George Gershwin Memorial Concert - 1937 Concert Cast |url=https://castalbums.org/recordings/George-Gershwin-Memorial-Concert-1937-Concert-Cast/7204 |publisher=Cast Albums |access-date=March 13, 2025 |language=en}}

Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music.{{citation needed|date=July 2021}}

In 1945, Arturo Toscanini conducting the NBC Symphony Orchestra recorded the piece for RCA Victor, one of the few commercial recordings Toscanini made of music by an American composer.{{Cite book |last=Pollack |first=Howard |url=http://california.universitypressscholarship.com/view/10.1525/california/9780520248649.001.0001/upso-9780520248649 |title=George GershwinHis Life and Work |date=2007-01-15 |publisher=University of California Press |isbn=978-0-520-24864-9 |doi=10.1525/california/9780520248649.003.0023}}

The Seattle Symphony also recorded a version in 1990 of Gershwin's original score, before numerous edits were made resulting in the score as we hear it today.{{cite news|last=Bargreen|first=Melinda|url=https://archive.seattletimes.com/archive/?date=19900628&slug=1079541|title=Recordings|newspaper=The Seattle Times|date=June 28, 1990|access-date=July 25, 2023}}

The blues section of An American in Paris has been recorded separately by a number of artists; Ralph Flanagan & His Orchestra released it as a single in 1951 which reached No. 15 on the Billboard chart.{{cite book |url=https://books.google.com/books?id=NP6OdDrutyAC&pg=PA22|title=Hit Records, 1950–1975|first= David F.|last= Lonergan |date= 2005|page=22 |isbn=9780810851290 |publisher=Scarecrow Press }} Harry James released a version of the blues section on his 1953 album One Night Stand, recorded live at the Aragon Ballroom in Chicago (Columbia GL 522 and CL 522).{{Cite web |title=Columbia Album Discography (1951–55) |url=https://www.bsnpubs.com/columbia/columbia12/columbia500.html |access-date=2024-03-29 |website=www.bsnpubs.com}}

In 1951, Metro-Goldwyn-Mayer released the musical film An American in Paris, featuring Gene Kelly and Leslie Caron and directed by Vincente Minnelli. Winning the 1951 Best Picture Oscar and numerous other awards, the film featured many tunes of Gershwin and concluded with an extensive, elaborate dance sequence built around the symphonic poem An American in Paris (arranged for the film by Johnny Green), which at the time was the most expensive musical number ever filmed, costing $500,000 {{USDCY|500000|1951}}.The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study{{Cite news|url=https://daily.jstor.org/american-paris-onstage-onscreen/|title=An American in Paris: Onstage and Onscreen {{!}} JSTOR Daily|date=May 19, 2015|work=JSTOR Daily|access-date=September 8, 2017}}

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{{Reflist}}

• {{Cite book |last=Rimler |first=Walter |url=https://books.google.com/books?id=Z_RrwU-yODEC&pg=PA28 |title=George Gershwin: An Intimate Portrait |date=2011-02-16 |publisher=University of Illinois Press |isbn=978-0-252-09369-2 |language=en|pages=28–33}}

{{Commons category|An American in Paris}}

• {{IMSLP|work=An American in Paris (Gershwin, George)|cname=An American in Paris}}
• [https://archives.nyphil.org/index.php/search?search-type=singleFilter&search-text=an+american+in+paris&doctype=printedMusic Scores], marked by Leonard Bernstein, Andre Kostelanetz, Erich Leinsdorf; New York Philharmonic archives
• [https://archive.org/details/AnAmericanInParis 1944 recording] by the New York Philharmonic conducted by Artur Rodziński
• {{YouTube|zi0ENw-JlUI|An American in Paris, audio}}, New York Philharmonic, Leonard Bernstein, 1959. [https://conifer.rhizome.org/Germinal/wikipedia/20180529043352/https://www.youtube.com/watch?v=zi0ENw-JlUI archive]{{cbignore}}

{{George Gershwin}}

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Category:1928 compositions

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Category:Music about Paris

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Category:Compositions for symphony orchestra

Category:Concert band pieces