signed
1927 · New York
by GERSHWIN, George 1898-1937
New York: Harms, 1927. Folio. Unbound and in single leaves laid in to original publisher's gray printed wrappers. 1f. (recto title, verso blank), 3-67, [i] (blank) pp. In a custom-made gray cloth covered folder with ivory velvet endpapers with matching custom-made slipcase with black leather title label gilt to spine.
With fine large autograph inscription in black ink from Gershwin to conductor Joseph Littau to upper portion of title: "To Joseph Littau - With keen admiration for his fine conducting Sincerely George Gershwin May 8, 1930" and an additional faint inscription in pencil to Littau to upper wrapper signed "Les [?]Russett" and dated May 1930.
Imprint to foot of the title reads HARMS/INCORPORATED / New York / CHAPPELL & C. LTD. / LONDON SYDNEY / [space] Copyright MCMXXVII by HARMS Inc., N. Y. International Copyright Secured / ALL RIGHTS RESERVED Including public performance for profit.
Printed dedication to Walter Damrosch to upper margin of title; "C I" printed to lower left margin of title and to pp. 3-31; "C II" to pp. 32-47; "C III" to pp. 48-67, following the work's movements.
With orchestral accompaniment arranged for second piano.
Wrappers slightly worn and creased; some staining and archival repairs to spine and outer margins; minor staining extending into left portion of upper wrapper, not affecting text. Slightly worn and browned; occasional small chips and tears to margins, most with archival repairs. First Edition.
The Concerto in F was commissioned by the conductor Walter Damrosch of the Symphony Society of New York in the Spring of 1925 and given its first performance at Carnegie Hall on 3 December of that year with Gershwin at the piano and Damrosch leading the New York Symphony Orchestra.
"The Concerto, a more ambitious undertaking (than the Rhapsody in Blue), occupied several months of Gershwin’s time as he sought to reconcile vernacular materials with classical forms. Like the Rhapsody, it is also full of sharp juxtapositions, but its integration through cyclic form and thematic transformation, both standard 19th-century techniques, reflects the composer’s study. More than the earlier Rhapsody, perhaps, the Concerto forms a convincing whole, with an impact that derives as much from its overall shape as from its constituent parts. In that way too the Concerto outdoes the tone poem An American in Paris." Richard Crawford, and Wayne J. Schneider in Grove Music Online
"Like the Rhapsody, too, the Concerto drew strongly on 'jazz' elements and the musical language of Tin Pan Alley and Broadway. But of the two works , the Concerto has greater structural strength... the Concerto somehow captured much of the essence of the time in which it was written" Schwartz. Gershwin: His Life and Music, pp. 116-117
Joseph Littau (1891-1977) was a prominent conductor and music director for the Radio City Orchestra and Broadway. (Inventory #: 40363)
With fine large autograph inscription in black ink from Gershwin to conductor Joseph Littau to upper portion of title: "To Joseph Littau - With keen admiration for his fine conducting Sincerely George Gershwin May 8, 1930" and an additional faint inscription in pencil to Littau to upper wrapper signed "Les [?]Russett" and dated May 1930.
Imprint to foot of the title reads HARMS/INCORPORATED / New York / CHAPPELL & C. LTD. / LONDON SYDNEY / [space] Copyright MCMXXVII by HARMS Inc., N. Y. International Copyright Secured / ALL RIGHTS RESERVED Including public performance for profit.
Printed dedication to Walter Damrosch to upper margin of title; "C I" printed to lower left margin of title and to pp. 3-31; "C II" to pp. 32-47; "C III" to pp. 48-67, following the work's movements.
With orchestral accompaniment arranged for second piano.
Wrappers slightly worn and creased; some staining and archival repairs to spine and outer margins; minor staining extending into left portion of upper wrapper, not affecting text. Slightly worn and browned; occasional small chips and tears to margins, most with archival repairs. First Edition.
The Concerto in F was commissioned by the conductor Walter Damrosch of the Symphony Society of New York in the Spring of 1925 and given its first performance at Carnegie Hall on 3 December of that year with Gershwin at the piano and Damrosch leading the New York Symphony Orchestra.
"The Concerto, a more ambitious undertaking (than the Rhapsody in Blue), occupied several months of Gershwin’s time as he sought to reconcile vernacular materials with classical forms. Like the Rhapsody, it is also full of sharp juxtapositions, but its integration through cyclic form and thematic transformation, both standard 19th-century techniques, reflects the composer’s study. More than the earlier Rhapsody, perhaps, the Concerto forms a convincing whole, with an impact that derives as much from its overall shape as from its constituent parts. In that way too the Concerto outdoes the tone poem An American in Paris." Richard Crawford, and Wayne J. Schneider in Grove Music Online
"Like the Rhapsody, too, the Concerto drew strongly on 'jazz' elements and the musical language of Tin Pan Alley and Broadway. But of the two works , the Concerto has greater structural strength... the Concerto somehow captured much of the essence of the time in which it was written" Schwartz. Gershwin: His Life and Music, pp. 116-117
Joseph Littau (1891-1977) was a prominent conductor and music director for the Radio City Orchestra and Broadway. (Inventory #: 40363)
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