Lullaby
(arr. by Michael Duke)

Composed in 1919 when Gershwin was just 21 years old, Lullaby showcases his early talent and foreshadows the genius that would later emerge. Originally conceived at the piano, Gershwin then scored the work for string quartet. The melody took on a second life as an aria in his opera Blue Monday and the original string quartet work was forgotten until 1967 when it was given its first public performance by the Julliard String Quartet The "Lullaby" reflects the influence of French Impressionism on Gershwin's work, as he was studying with renowned composer and teacher Charles Loeffler at the time. The piece is characterized by its lush harmonies and evocative melodies, demonstrating Gershwin's ability to blend traditional classical forms with modern American jazz elements. Although it may not have achieved the same level of fame as his later works, this lullaby remains a testament to Gershwin's versatility and innovation as a composer. It serves as a captivating glimpse into the early stages of his remarkable career, which would go on to reshape the landscape of American music forever.

Three Preludes
(arr. by Wolfgang Schlei)

Originally composed for solo piano, George Gershwin's "Three Preludes" are a remarkable exploration of American musical innovation. These compositions, originally composed for solo piano in 1926, showcase his profound ability to blend classical and popular elements seamlessly. The first prelude opens with a lively syncopated rhythm, evoking the bustling energy of the 1920s. Its playful melody dances effortlessly between major and minor keys, demonstrating Gershwin's harmonic finesse. The second prelude is a languid, bluesy piece. It bathes in rich, melancholic harmonies, reminiscent of the era's soulful ballads. Gershwin's intricate use of dissonance and resolution adds depth to this contemplative interlude. The final prelude is a vivacious whirlwind of syncopation and virtuosity. Its rapid tempo and intricate ornamentation exhibit Gershwin's mastery of piano technique. These preludes were initially composed as exercises to sharpen his technical skills but soon became a celebrated part of his repertoire.

Summertime
(arr. by Art Marshall)

Originally written for the opera "Porgy and Bess" in 1935, this song has become an enduring classic. Gershwin's composition draws on African-American spirituals and the rich heritage of the American South. The haunting, soulful melody, delivered with heartfelt simplicity, speaks to the universal longing for better days. The lullaby-like quality of "Summertime" showcases Gershwin's ability to craft emotionally resonant music. The song's lyrics written by DuBose Heyward paint a vivid picture of a serene summer evening in the American South, filled with the promise of warmth and hope. Its enduring popularity can be attributed to its poetic simplicity, which speaks to the human experience in a way that transcends time and place. "Summertime" has been performed by countless artists across various genres, a testament to its enduring appeal.

American in Paris
(arr. by Jay Byrnes)

George Gershwin's "An American in Paris" is a captivating musical composition that embodies the essence of an American's encounter with the vibrant city of Paris. Composed in 1928, it was inspired by Gershwin's own experiences in the French capital. During a visit to Paris in 1926, Gershwin was captivated by the city's culture and atmosphere. This journey served as the inspiration for "An American in Paris, "a symphonic poem thatbeautifully encapsulates the contrast between American exuberance and the romantic allure of Paris. The composition premiered in New York in 1928 under the baton of Walter Damrosch and immediately struck a chord with audiences. Its blend of jazz-infused rhythms, lush harmonies, and a wide array of orchestral colors marked a new direction for American classical music. Gershwin even incorporated authentic Parisian taxi horns to evoke the city's ambiance.

Rhapsody in Blue
(arr. by Nexas Quartet)

Composed in 1924, this iconic work bridges the gap between classical and jazz genres, reflecting the vibrant spirit of the Roaring Twenties. Commissioned by bandleader Paul Whiteman for a concert titled "An Experiment in Modern Music, " Gershwin was tasked with creating a piece that would fuse the worlds of jazz and classical music. In just a few weeks, he crafted the "Rhapsody in Blue, " a composition that would become synonymous with the energy and optimism of the Jazz Age. Premiered at New York's Aeolian Hall on February 12, 1924, with Gershwin himself at the piano, the piece was met with both critical acclaim and popular success. Its distinctive blend of lush harmonies, soaring melodies, and jazz elements captured the essence of an evolving American identity. "Rhapsody in Blue" catapulted Gershwin to stardom and established him as a trailblazing composer. It became a quintessential piece of American music, defining an era and inspiring countless musicians and composers.

Rialto Ripples
(arr. by William Perconti)

Co-written with his friend and lyricist Will Donaldson in 1917 when Gershwin was just 19, this ragtime piece captures the vivacity of the era's popular music while hinting at the innovative genius that would later define Gershwin's work. The composition was first published by Jerome H. Remick & Co. and quickly gained popularity in the burgeoning jazz scene. Its syncopated rhythms and infectious melodies made it a hit, earning Gershwin recognition as a promising young composer. "Rialto Ripples" paved the way for Gershwin's future successes in both classical and popular music. It served as a stepping stone to his iconic works like "Rhapsody in Blue" and "An American in Paris.