George Gershwin

Gershwin's music is defined by the integration of jazz harmonies (blue notes, seventh chords, syncopation) into classical forms. His melodies are instantly memorable and often blues-inflected, and his piano writing is idiomatic and virtuosic, drawing on stride piano and jazz improvisation. Orchestration is colorful and often features jazzy instrumentation (saxophones, muted brass). He could shift from tender ballads to driving rhythmic music seamlessly.

He absorbed Tin Pan Alley songwriting and jazz from New York's music scene, studied classical composition with Rubin Goldmark and later sought lessons from Ravel (who reportedly refused, saying Gershwin would lose his spontaneity). His influence on later American composers (Copland, Bernstein, Barber) was profound—he showed American classical music could sound American. His brother Ira's lyrics were essential to his songs' success.

Early success as Tin Pan Alley song-plugger and songwriter led to Broadway musicals through the 1920s-30s. 'Rhapsody in Blue' (1924) brought concert hall success. 'An American in Paris' (1928) and 'Cuban Overture' continued orchestral exploration. 'Porgy and Bess' (1935) was his operatic culmination. Move to Hollywood for film scores was cut short by brain tumor that killed him at 38.

Gershwin composed 'Rhapsody in Blue' in just a few weeks after reading a newspaper announcement of its premiere (a misunderstanding with Paul Whiteman)—the piano solo part wasn't fully written down, and Gershwin improvised significant portions at the 1924 premiere. The work became an instant sensation and remains his calling card.

Gershwin was a serious painter whose work was exhibited and collected—he moved in artistic circles that included Schoenberg (who was also a painter) and other visual artists. His paintings, mostly portraits and streetscapes, show genuine talent beyond music.

'Rhapsody in Blue' appears constantly on pops and classical programs—it's inescapable and beloved. 'An American in Paris' is nearly as popular. 'Porgy and Bess' is performed by opera companies regularly despite ongoing debates about representation and appropriation. The Concerto in F and orchestral song arrangements appear frequently. He's evergreen, appealing to audiences who might not attend other classical concerts.