Second Rhapsody


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for solo piano and orchestra

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Howard Pollack

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Gershwin's Rhapsody in Blue…What to listen to next | nuestyloz.tk

In the midth century, many European regions experienced a surge of national fervor and cultural pride. Especially within the vast Austrian Empire , various formerly suppressed ethnic groups began to exert themselves, and music was considered an ideal tool for expressing their cultural heritage. Born in Hungary of Hungarian heritage, Liszt spent most of his life abroad; although his grasp of the Hungarian language was highly limited, this did not prevent him from loving his native land.


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On visits to Hungary in the s, he compiled a collection of folk melodies, drawn from both the Magyar and the Romany Gypsy traditions. The Hungarian Rhapsody No. In this month in history Once you've refamiliarised yourself with this Gershwin classic, we've compiled a list of some fabulous recordings to move onto next.

Alas, when he played it at its premiere with the Boston Symphony Orchestra under Serge Koussevitzky, the reception was decidedly chilly. But amid this Romantic wallow, a melody of Gershwin-like jauntiness pops its head up here and there, and the brassy, triumphant finale has Rhapsody in Blue stamped all over it. Now this is a lot of fun. BBC Music Magazine digital editions.

Secondary links Competitions What's on Awards Polls. Log in Register. Search Search this site:. Gershwin's Rhapsody in Blue…What to listen to next.

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We take a much-loved classic, and suggest what to head for next. Share this article Share.

The best pieces for flute: our top picks. The first movement is full of teasing moments, and Bianca's lively and sometimes unpredictable playing must have kept the members of the Hamburg Radio Orchestra on their collective toes. In the Finale, Bianca's fingers bounce off of the piano as if the keys were red hot.

Second Rhapsody for Piano and Orchestra

This is not the most muscular reading of the score, nor the most polished one, and the orchestral accompaniment is not very idiomatic. Still, Bianca's light-hearted playing — never overbearing, never quite what you expect — makes this a version almost anyone can enjoy.


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The same holds true for the two shorter works. The "I Got Rhythm" Variations sometimes sound insubstantial, but conductor Goehr gives them backbone, and Bianca's contribution, while not as prominent as in the two other works, is kittenish.

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By the same token, the Second Rhapsody comes across as something more than the paler cousin of the Rhapsody in Blue. The Second Rhapsody is monaural, and there's some overloading at climaxes in the Concerto, but it is nothing over which to get too concerned. On the other hand, the sound in the "I Got Rhythm" Variations, while very forward, is broad-ranging — perhaps because it comes from a reel tape master.

I assume the sources for the other two selections were LPs.

Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody
Second Rhapsody Second Rhapsody

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