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George  Gershwin
 

Gershwin was influenced very much by French composers of the early twentieth century. Upon meeting composer Maurice Ravel, Gershwin asked him of the possibility of becoming a student of composition under the master. Ravel is said to have replied, "Why should you be a second-rate Ravel when you can be a first-rate Gershwin?" Ravel was already quite impressed with the ability of Gershwin, commenting, "Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin's works and I find them intriguing." (Mawer 42) The orchestrations in Gershwin's symphonic works often seem similar to those of Ravel; likewise, Ravel's two piano concertos evince an influence of Gershwin. He also asked Igor Stravinsky for lessons; when Stravinsky heard how much Gershwin earned, he replied "How about you give me some lessons?"

Gershwin's own Concerto in F was criticised as being strongly rooted in the work of Claude Debussy, more so than in the jazz style which was expected. The comparison didn't deter Gershwin from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: "The opening part will be developed in typical French style, in the manner of Debussy and the Six, though the tunes are original." (Hyland 126)

Gershwin was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud and Arnold Schoenberg. Russian Joseph Schillinger's influence as his teacher of composition was substantial in providing him with a method to his composition. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such assistance for this work. In analysis, Schillinger's student Vernon Duke found that while many of Gershwin's works certainly were reviewed by Schillinger, Porgy does not seem to be one of them. The indirect influence of his study with the teacher was apparent in the opera's even more clear orchestrations but it is characteristically Gershwin in ways that Schillinger would not have approved of. (Hyland 167)

 

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