I love this song so much. I've been working on playing it on and of for the past four months, and nothing is more rewarding than sitting at the piano and playing it through perfectly. It's the most amazing feeling in the world.
You prolly dont care but does someone know a tool to get back into an Instagram account?? I somehow lost the account password. I would love any tips you can give me!
@Rowan Elliott I really appreciate your reply. I got to the site through google and im trying it out now. Seems to take quite some time so I will get back to you later when my account password hopefully is recovered.
I love the off-beat entrances and subtle nuances in this piece - I'm currently learning it in my college chamber orchestra and it is, by-far, my utmost favorite we will be performing this fall. Beautifully written, Gershwin.
When that man, George Gershwin is playing piano, you can't help but shut up and listen. When an aspiring up and comer plays Gershwin, and plays him well, we shut up, we listen, and after the last note is sustained, we get up and we cheer! Because the world's next great piano player might just be among us!
I think that this preludes - especially the second - had another inspiration; the time of the 20 th years, the atmosphere of years before the economic crisis, the atmosphere of the years between the two world wars .. The atmosphere of doubts, where civilization is pointing, the atmosphere of years of unemployment, the atmosphere of expectations, what the future will brings.. The atmosphere of prohibitions on one hand, the atmosphere weakness on the other hand..
There are at least two recordings of Gershwin performing it: Columbia 50107-D - Recorded in London, England on June 8, 1928 with a performance length of 2m37s and on the Rudy Vallée "Fleischmann Hour" Radio Program, November 10, 1932 - with a 2m32s recording length with an introduction, but performance is 2m03s. The tempo of the first recording is about 88bpm (as noted on the score), while the tempo of the second recording is perhaps the liveliest I've found at about 114bpm. Comparatively, Tom Deneckere performs it here around 56bpm. Gershwin was said to include these short preludes on various programs to fill up time, but Kay Swift noted about these preludes that 'Most people play the fast ones too fast and the slow one too slow'. Admittedly, there were time limitations while recording on 78s and (possibly) with radio programming. Still, while Gershwin described this prelude it as a 'blues lullaby', his performances of it (that have survived) make me wonder what he would think of the numerous versions recorded at largo tempos, which seem be more appropriate for a 'blues lullaby'.
Very well done. This piece is also know as "Blue Lullaby" (I believe), and I've always felt that it deserves the sense of a warm, sultry summer night in the American "deep south," a sweetly languid touch of sleepy melancholy. You've captured this mood well, and I thank you for it. A fine accomplishment.
Interesting interpretation, because for me this piece conjures various urban, incandescent scenes of New York in the dreamy late night/early morning hours. In my mind, Gershwin and '20s New York are inseparable from one another!
We sang George's 100th Birthday at Blossom Festival with TCO as our backup band, for the Blossom Chorus... Alvie Powell was our soloist. Semper Fi Porgy! He owned that role. Wow. Pinch me, did that happen, Summer '98? I guess so, I see it in the program notes. Gershwin had wanted it premiered there for his friend Rodzinski, but his NYC backers threw a fit. But we sang it in '98! I am busking this prelude. So very cool. Gershwin forever, the American blue 💙 genius!
Interesting to read the different ways people interpret this marvelous piece. It reminds me of Edward Hopper's "Nighthawks": urban blues after midnight...
I love this piece played at this slower tempo. It gives the piece a very bluesy feel that I think fits the piece perfectly. The other version is just way to fast IMHO.
It depends on what you mean by "novice". This piece may have a slower tempo, but it also contains a plethora of off-beat entrances and nuances. If you're highly adept at rhythms and keeping-time, I would definitely recommend this piece; otherwise, I recommend another piece or composer to start you off - as a cellist, Mendelssohn is one of my personal favorites. Hope this helps.
@@electricavenuemusic9282 How about don't ruin the music and if you can't play it don't play it how about that money!?! He's playing at half tempted also, damn I have that! I've got things to do with my time! Damn son....
@@electricavenuemusic9282 it sounds like s*** and by the description are trying to make it sound and look like it's on the album it's not the album I have the album you're a dumbass
@Antimony you don't get how annoying the internet and stupid people are because you are one of them. Why don't YOU STOP being such an old ass piece of CONCEITED SHIT that thinks you know something when you don't know anything. You just can't stand to hear anything that doesn't for your unknowledgeable view of life. If you actually understood what I was saying you would shut your stupid mouth. But you have no accountability on here so you just run it freely without even knowing what your talking about, good for you, fool!
This is not Gershwin. It's wallowing. It's a taffy-pull. This guy & others need to study Gershwin's own recordings & those of his best "disciple", Oscar Levant.
When I was young, I had teachers who told me ‘THIS is how you play Mozart’ or ‘THIS is how you play Bach’. I can assure you: nobody plays Mozart or Bach now as they did back then. Which of course doesn’t mean they weren’t right. I could have been that lucky guy with just the teachers who were right about the ways to play all composers. And the rest of the world just has gone astray. I think not. Also, I have read books by really smart people about all they got to know about performance practice and historic correctness. However, hearing them perform doesn’t always make me happy, nor are they always interesting (unless you are interested in assessing how good they are in putting their money where their mouth is). Third, composers have been caught admitting that they liked performances of their pieces that were very different from their own. Good composers, too. I do think there is merit in knowing as much as you can about a piece and using that knowledge to prepare ways of interpreting or performing them. 'As much as I can' is of course a function of how smart I am, what sources I have access to, but also: how much time I have to prepare for a performance. If you don’t have much time, a lot of ‘improvisation’ enters the picture, where you adapt to circumstances, and make split-second decisions about how to continue or ease into a new section, during rehearsals as well as during performance. As a fulltime accompanist, I have to do that a lot. In my experience, being a good, saught-after musician is not only about playing everything ‘right’ but also being flexible and finding the right balance between imposing your style or knowledge and being humble and make concessions in the interest of the performance. Apart from that, it can also be fun to ‘just play’ a piece without giving too much thought to it. Like when sometimes you go to the bakery ‘just’ to buy bread, not asking yourself if bread is exactly the thing that your body needs, considering what you ate over the last week, or if maybe you could buy the cheaper bread and donate some money to charity instead of buying the more expensive bread, or if the baker herself meets all your moral rules and hygienic standards. That is life. That, also, is the life of a musician. If my performance gave you the impression that ‘THIS is how you play Gershwin’, I apologise. That was not my intent. It is a live performance that I remember well and that was almost accidentally recorded. I am proud of it because I know in what circumstances I did it and because people at that time thought and felt that it fitted the circumstances. And I think it sounds good! ❤🎶
@@tomdeneckere Thank you for your thoughtful response, Tom. You are clearly a talented pianist. I don't mean to suggest otherwise. It's just that Gershwin has been so maligned by so many-- & performed badly more often than not--that I think it's important to listen to recordings of Gershwin performing his own music to have a sense of his intended meaning & the spirit of this music. Gershwin is "like" jazz, which is a performer's art, & I think one who wishes to perform Gershwin well needs to study the Gershwin performances (and I do not mean to suggest that Gershwin is a jazz composer--too many have mistakenly assumed this!). I have spent many, many years studying the Gershwin style & playing Gershwin's piano music. It is a tremendously difficult idiom to get down right. Although GG was one of the great melodists, one falls short of the mark to stress melody at the expense of forward movement & rhythm. In this sense, it seems to me, the Gershwin idiom has much in common with the Baroque style. Go to the source. Listen to recordings of Gershwin performing his own piano music. Then I think you'll see what I'm getting at. Make the piano laugh & crackle, use very little rubato, resist the temptation to hold down that loud pedal, & keep moving! Actually, Gershwin is sui generis. He requires special study to get his music down right--& a great composer like Gershwin deserves close attention. I wish you well! May I suggest that you listen to Gershwin performing his 2nd Prelude on TH-cam? Then you might listen to some of Jack Gibbons's recordings of Gershwin, also on TH-cam. He's a first-rate pianist--& one of the precious few who understands the idiom & plays this composer extremely well. Good luck & have fun!
![[LIVE] : ONE ลุมพินี 86 | คู่เอก "คมเพชร vs ชาติพยัคฆ์"](http://i.ytimg.com/vi/m3q_dRYDuU8/mqdefault.jpg)
I think Gershwin’s music is much underrated. This melody is so haunting. I play it a lot.
I completely agree. He is vastly underrated. The pace of his music is like no other
I love this song so much. I've been working on playing it on and of for the past four months, and nothing is more rewarding than sitting at the piano and playing it through perfectly. It's the most amazing feeling in the world.
Love this piece, I just got it assigned for piano lessons and I’m super excited to play it
Me too
You prolly dont care but does someone know a tool to get back into an Instagram account??
I somehow lost the account password. I would love any tips you can give me!
@Rowan Elliott I really appreciate your reply. I got to the site through google and im trying it out now.
Seems to take quite some time so I will get back to you later when my account password hopefully is recovered.
@Rowan Elliott it did the trick and I now got access to my account again. I am so happy!
Thank you so much, you saved my ass :D
@Daxton Harrison Glad I could help =)
Playing this on a piano, it's just awesome... feels like such a release. So grateful my teacher had me learn it
I love the off-beat entrances and subtle nuances in this piece - I'm currently learning it in my college chamber orchestra and it is, by-far, my utmost favorite we will be performing this fall. Beautifully written, Gershwin.
Do you have a link to a performance? Perhaps?
Timestamps, for my practice convenience:
0:00 - Start
1:09 - Measure 17
2:08 - Measure 31 (1:59 for before it)
2:48 - Measure 45
When that man, George Gershwin is playing piano, you can't help but shut up and listen.
When an aspiring up and comer plays Gershwin, and plays him well, we shut up, we listen, and after the last note is sustained, we get up and we cheer!
Because the world's next great piano player might just be among us!
I think that this preludes - especially the second - had another inspiration; the time of the 20 th years, the atmosphere of years before the economic crisis, the atmosphere of the years between the two world wars .. The atmosphere of doubts, where civilization is pointing, the atmosphere of years of unemployment, the atmosphere of expectations, what the future will brings.. The atmosphere of prohibitions on one hand, the atmosphere weakness on the other hand..
The hauntingly beautiful blue lullaby.
Gershwin always wrote the most beautifully melancholy music.
There are at least two recordings of Gershwin performing it: Columbia 50107-D - Recorded in London, England on June 8, 1928 with a performance length of 2m37s and on the Rudy Vallée "Fleischmann Hour" Radio Program, November 10, 1932 - with a 2m32s recording length with an introduction, but performance is 2m03s. The tempo of the first recording is about 88bpm (as noted on the score), while the tempo of the second recording is perhaps the liveliest I've found at about 114bpm. Comparatively, Tom Deneckere performs it here around 56bpm. Gershwin was said to include these short preludes on various programs to fill up time, but Kay Swift noted about these preludes that 'Most people play the fast ones too fast and the slow one too slow'. Admittedly, there were time limitations while recording on 78s and (possibly) with radio programming. Still, while Gershwin described this prelude it as a 'blues lullaby', his performances of it (that have survived) make me wonder what he would think of the numerous versions recorded at largo tempos, which seem be more appropriate for a 'blues lullaby'.
Madonna In This Life, this is the song. What a great inspiration. 🥵
1:16...the voicing. Just perfect.
Very well done. This piece is also know as "Blue Lullaby" (I believe), and I've always felt that it deserves the sense of a warm, sultry summer night in the American "deep south," a sweetly languid touch of sleepy melancholy. You've captured this mood well, and I thank you for it. A fine accomplishment.
i agree, but.. isn't that played very slow? Gershwin plays it craziest faster!
Interesting interpretation, because for me this piece conjures various urban, incandescent scenes of New York in the dreamy late night/early morning hours. In my mind, Gershwin and '20s New York are inseparable from one another!
We sang George's 100th Birthday at Blossom Festival with TCO as our backup band, for the Blossom Chorus...
Alvie Powell was our soloist.
Semper Fi Porgy! He owned that role.
Wow. Pinch me, did that happen, Summer '98?
I guess so, I see it in the program notes.
Gershwin had wanted it premiered there for his friend Rodzinski, but his NYC backers threw a fit.
But we sang it in '98!
I am busking this prelude. So very cool.
Gershwin forever, the American blue 💙 genius!
This man is my hero.
My favorite, my mom played this all the time.
One of the best preludes in my opinion…
très très joli…. Magnifique interprétation, parfaite même je trouve, n'ayons pas peur des mots!
Interesting to read the different ways people interpret this marvelous piece. It reminds me of Edward Hopper's "Nighthawks": urban blues after midnight...
Love your analogy. It's perfect.
I love this piece played at this slower tempo. It gives the piece a very bluesy feel that I think fits the piece perfectly. The other version is just way to fast IMHO.
Gershwin played it fast and without emoting.
Gorgeous rendition!!!
Georgeous ;)
oooh, I've played that one too. brings up very good memories about my living in the USA :))
He is as handsome as his music. ❤️🙏💔
this was the ballad of my marching band show
Very nice performance.
well played...ruminative...
thank you
jbm
Gerschwin at his bluesy best!
My fav
Gives me alot of ODST vibes
Marty brought me here.
Apparently this is one of the pieces that inspired Marty O'Donnell when he was composing for ODST
@@jackrackham3406 really? Neatt
That was really good. Playing out for piano lessons. Hope to be that good. Please don't say your younger than 13 or i'll be 'tots' embarrassed :p
Robyn Orts I’m “TOTALLY” less than 13 😂
I’m gonna play this in band
The left hand reminds me of Chopin's Prelude No.2 in A minor! Anybody else? :D
The left hand reminds me of y=-cos x! Anybody else? :D
perfect
Bravo
Anyone else here after watching Plot Against America?
sweet
I like the way you swing your RH - some people are way to... liberal with it. The way you do it sparingly-ish makes it sound very nice when you do.
what's the point of that B natural at the end?
Adds unresolved tension and gives the piece a timeless, endless feel
Ditto
+Robbie Foote has anyone ever told you you look vaguely like Tai Lopez?
gershwin trollin'
T Bloopner u got it bud
Madonna brought me here.
Me too😊
and me 🥰
Sitting on a park bench.
Le felicito.
traffic jam, halo 3 odst
Sounds like Ravel's "Un grand sommeil noir"
is this a piece that a novice could learn? love this song
It depends on what you mean by "novice". This piece may have a slower tempo, but it also contains a plethora of off-beat entrances and nuances. If you're highly adept at rhythms and keeping-time, I would definitely recommend this piece; otherwise, I recommend another piece or composer to start you off - as a cellist, Mendelssohn is one of my personal favorites. Hope this helps.
I'm currently learning to play it. WTF is going on there?
.Although it's nice
2:08
All that's missing is rain fx and some saxophone.
_He_ can't even stretch the left hand properly!
Ha I love having big hands
@@electricavenuemusic9282 How about don't ruin the music and if you can't play it don't play it how about that money!?! He's playing at half tempted also, damn I have that! I've got things to do with my time! Damn son....
@@electricavenuemusic9282 Yeah and what you said was stupid! Well, you want to talk bizzare??? you're out of this world freak!!!
@@electricavenuemusic9282 it sounds like s*** and by the description are trying to make it sound and look like it's on the album it's not the album I have the album you're a dumbass
@Antimony you don't get how annoying the internet and stupid people are because you are one of them. Why don't YOU STOP being such an old ass piece of CONCEITED SHIT that thinks you know something when you don't know anything. You just can't stand to hear anything that doesn't for your unknowledgeable view of life. If you actually understood what I was saying you would shut your stupid mouth. But you have no accountability on here so you just run it freely without even knowing what your talking about, good for you, fool!
Why would you put an album up and try to make people think you are the actual perform on it!?!? SICK ASS...
Cocaina nella cookie da noi è sempre mezzogiorno
This is not Gershwin. It's wallowing. It's a taffy-pull. This guy & others need to study Gershwin's own recordings & those of his best "disciple", Oscar Levant.
When I was young, I had teachers who told me ‘THIS is how you play Mozart’ or ‘THIS is how you play Bach’. I can assure you: nobody plays Mozart or Bach now as they did back then. Which of course doesn’t mean they weren’t right. I could have been that lucky guy with just the teachers who were right about the ways to play all composers. And the rest of the world just has gone astray. I think not.
Also, I have read books by really smart people about all they got to know about performance practice and historic correctness. However, hearing them perform doesn’t always make me happy, nor are they always interesting (unless you are interested in assessing how good they are in putting their money where their mouth is).
Third, composers have been caught admitting that they liked performances of their pieces that were very different from their own. Good composers, too.
I do think there is merit in knowing as much as you can about a piece and using that knowledge to prepare ways of interpreting or performing them. 'As much as I can' is of course a function of how smart I am, what sources I have access to, but also: how much time I have to prepare for a performance. If you don’t have much time, a lot of ‘improvisation’ enters the picture, where you adapt to circumstances, and make split-second decisions about how to continue or ease into a new section, during rehearsals as well as during performance. As a fulltime accompanist, I have to do that a lot. In my experience, being a good, saught-after musician is not only about playing everything ‘right’ but also being flexible and finding the right balance between imposing your style or knowledge and being humble and make concessions in the interest of the performance.
Apart from that, it can also be fun to ‘just play’ a piece without giving too much thought to it. Like when sometimes you go to the bakery ‘just’ to buy bread, not asking yourself if bread is exactly the thing that your body needs, considering what you ate over the last week, or if maybe you could buy the cheaper bread and donate some money to charity instead of buying the more expensive bread, or if the baker herself meets all your moral rules and hygienic standards. That is life. That, also, is the life of a musician.
If my performance gave you the impression that ‘THIS is how you play Gershwin’, I apologise. That was not my intent. It is a live performance that I remember well and that was almost accidentally recorded. I am proud of it because I know in what circumstances I did it and because people at that time thought and felt that it fitted the circumstances. And I think it sounds good! ❤🎶
@@tomdeneckere Thank you for your thoughtful response, Tom. You are clearly a talented pianist. I don't mean to suggest otherwise. It's just that Gershwin has been so maligned by so many-- & performed badly more often than not--that I think it's important to listen to recordings of Gershwin performing his own music to have a sense of his intended meaning & the spirit of this music. Gershwin is "like" jazz, which is a performer's art, & I think one who wishes to perform Gershwin well needs to study the Gershwin performances (and I do not mean to suggest that Gershwin is a jazz composer--too many have mistakenly assumed this!). I have spent many, many years studying the Gershwin style & playing Gershwin's piano music. It is a tremendously difficult idiom to get down right. Although GG was one of the great melodists, one falls short of the mark to stress melody at the expense of forward movement & rhythm. In this sense, it seems to me, the Gershwin idiom has much in common with the Baroque style. Go to the source. Listen to recordings of Gershwin performing his own piano music. Then I think you'll see what I'm getting at. Make the piano laugh & crackle, use very little rubato, resist the temptation to hold down that loud pedal, & keep moving! Actually, Gershwin is sui generis. He requires special study to get his music down right--& a great composer like Gershwin deserves close attention. I wish you well!
May I suggest that you listen to Gershwin performing his 2nd Prelude on TH-cam? Then you might listen to some of Jack Gibbons's recordings of Gershwin, also on TH-cam. He's a first-rate pianist--& one of the precious few who understands the idiom & plays this composer extremely well. Good luck & have fun!
Marty O’Donnell brought me here
kindof slow in my opinion
This was a version I first heard. It's much more jazzy than the other one.