BGuthrie Photos: DC -- Library of Congress -- Exhibit: Here to Stay: The Legacy of George and Ira Gershwin

DC -- Library of Congress -- Exhibit: Here to Stay: The Legacy of George and Ira Gershwin:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. LOCGER_171122_004.JPG: "Here To Stay" The Legacy of George and Ira Gershwin: In time the Rockies may crumble, and Gibraltar may tumble, but the music of composer George Gershwin (1898-1937) and his lyricist-brother Ira (1896-1983) is clearly here to stay. The mention of their names conjures images of Scott Fitzgerald's Gatsby, Florenz Ziegfeld's Follies, Jazz Age nightclubs, and Manhattan skyline, and Art Deco interiors. Evoking the glamour and sophistication of the 1920s and 1930s, Gershwin compositions continue to be heard in concert halls, theaters, opera houses, and cabarets around the world. Their songs have become so much a part of the fabric of the national culture that few Americans do not know them. Moreover, the Gershwins' lives continue to be exploited in scholarly and popular studies. The Gershwins left manuscript scores and lyric sheets, printed works, correspondence, photographs, film, and sound recordings that detail their work and their lives. Gifts of these materials to the Library of congress from Ira and his wife, Leonore Strunsky Gershwin (1900-1991), as well as from the Gershwins' mother, Rose (ca. 1876-1948), Gershwin siblings Arthur (1900-1981) and Frances (b. 1906), and other family members and friends have created the world's preeminent collection of original Gershwin documents. Selected items from the Gershwin Collection, which is housed in the Library's Music Division, are exhibited in this room.
2. LOCGER_171122_015.JPG: George's interest in drawing and painting dates from the late 1920s. He produced chiefly portraits in pencil, watercolor, and oil. This self-portrait, dating from the last years of his life, is regarded as one of his best efforts.
3. LOCGER_171122_023.JPG: Ira's earliest surviving paintings and drawings date from his teenage years; he was listed as an art editor for his school's newspaper. In this self-portrait he depicts himself in striking contrast to the image of sophistication and glamour that George usually projected. While George was working out melodies at the piano, Ira often fashioned his lyrics at a table nearby. He usually wrote out lyrics in longhand and then typed them, incorporating many changes in the course of his trial-and-error method of finding just the right words for a particular tune.
4. LOCGER_171122_036.JPG: At this piano, which he acquired in the 1920s, George worked out many of his famous tunes. "Composing at the piano is not good practice," George once admitted, "but I started that way and it has become a habit."
5. LOCGER_171122_039.JPG: George had this desk designed in 1933; it features a music stand, compartments for paper and supplies, a pencil sharpener, and an inkwell. According to Ira, George scored much of his later work at this desk.
6. LOCGER_171122_048.JPG: Early Life 1896-1920
7. LOCGER_171122_051.JPG: Rose Bruskin and Morris Gershwin were married on July 21, 1895. George would later describe his father as "a very easy-going, humorous philosopher who [took] things as they come." By contrast, he said that his mother was "nervous, ambitious, and purposeful."
8. LOCGER_171122_055.JPG: Ira's first professional publication was a short piece of light verse in The Smart Set, a popular magazine. He received compensation in the amount of $1.00.
9. LOCGER_171122_059.JPG: George's first metronome, ca 1910
10. LOCGER_171122_065.JPG: The Gershwin family acquired a piano in 1910, and George immediately demonstrated exceptional aptitude for the instrument. "Ragging the Traumerei," reflecting the then-current craze for ragtime, was George's first completed composition.
11. LOCGER_171122_069.JPG: The first George and Ira published song credits lyricist "Arthur Francis," a pseudonym that Ira devised from the names of his two youngest siblings because he thought that the show's producer would not take seriously a song written by a team of brothers.
12. LOCGER_171122_076.JPG: Initial Successes The 1920s
13. LOCGER_171122_079.JPG: In 1928, the Gershwins toured Europe. George wrote most of the "blues" section of An American in Paris during the "blues" section of An American in Paris during the trip. In Vienna, a luncheon party included (back row, from left) Ira, Lee, George, and Emmerich Kalman, one of the operatta's most eminent composers.
14. LOCGER_171122_083.JPG: In his youth, Ira was known as "Isidore," "Izzy," or just "Iz." By 1924, he felt secure enough to abandon his pseudonym, "Arthur Francis," choosing instead the name "Ira." His lyrics for Be Yourself were the first to be published under his new name.
15. LOCGER_171122_086.JPG: On September 14, 1926, Ira married Leonore "Lee" Strunsky. Always stylish, and forward looking, she shared Ira's profound appreciation for wit and language. Ira spoke of her with almost adolescent ardor and remained smitten with her throughout their nearly fifty-seven year marriage.
16. LOCGER_171122_088.JPG: Following the international success of "Swanee," George went to London in 1923 to compose the score for The Rainbow. He wrote Ira that, "When I reached shore a woman reporter came up and asked for a few words. I felt like I was [Jerome] Kern or somebody."
17. LOCGER_171122_091.JPG: George was a frequent guest at fashionable New York parties where he could often be found at the piano playing his own songs. He is shown here at a "Come As Something Else" costume party given by Elsa Maxwell in late 1929. Richard Rodgers as Zeppo Marx, Justine Johnson as Harpo, George as Groucho, and Jules Glaenzer as Chico, 1929.
18. LOCGER_171122_096.JPG: Professional Triumphs and Personal Tragedy The 1930s
19. LOCGER_171122_099.JPG: In 1936, the Gershwins left New York for Hollywood. Ira immediately took to southern California's leisurely pace, mild climate, and distance from the pressures of New York. George, however, remained a New Yorker at heart and soon longed for the excitement of the native city.
20. LOCGER_171122_102.JPG: After George's death on July 11, 1937, a number of memorial events took place, including an August concert at New York's Lewisohn Stadium that attracted a record audience of 20,223 and a September concert at the Hollywood Bowl.
21. LOCGER_171122_107.JPG: George's comments on this letter to long-time friend Mabel Shirmer about Hitler and Europe showed an uncharacteristic interest in current events. George's letters to Schirmer are among his most candid and the most relevatory of his last year.
22. LOCGER_171122_111.JPG: Late in 1936, George began to suffer the effects of the brain tumor that killed him -- dizziness, irritability, fatigue, and blinding headaches. On June 9, George's physician found no cause for his symptoms; the next day George wrote to reassure his mother.
23. LOCGER_171122_115.JPG: Ira's fountain pen, ca 1935
24. LOCGER_171122_121.JPG: Ira After George 1938-1983
25. LOCGER_171122_124.JPG: Sam Shaw. Lee and Ira Gershwin at their home, Beverly Hills, California, summer 1959.
26. LOCGER_171122_126.JPG: Four years in the making, Ira's memoirs consist of 104 of his favorite lyrics with his informative and amusing commentary. Characteristically meticulous, he crafted his prose through various drafts and even drew his own designs for the title page.
27. LOCGER_171122_143.JPG: In 1988, President Ronald Reagan presented the Congressional Gold Medal for the Gershwins' "outstanding and invaluable contributions to American music, theater, and culture." Frances Gershwin Godowsky accepted the medal on behalf of George, and Lee on Behalf of Ira.
28. LOCGER_171122_145.JPG: In 1939, Ira gave the Library the first of many gifts -- this manuscript sketch for "Roll Dem Bones" from Porgy and Bess.
29. LOCGER_171122_149.JPG: On Stage and Screen
30. LOCGER_171122_152.JPG: Draft Number 3 for "'S Wonderful"
31. LOCGER_171122_160.JPG: Lyric for "'S Wonderful" Ira Gershwin was a master of the clever lyric. Describing "'S Wonderful" he said, "The principal reason for writing this lyric was to feature the sibilant sound effect by deleting the "it" or "it's" and slurring the leftover "s" with the first syllable of the following word." He insisted that this title be spelled "'S Wonderful" (with the apostrophe before the "s"), and not the frequently misspelled "S'Wonderful."
32. LOCGER_171122_164.JPG: " 'S Wonderful" Sheet Music
33. LOCGER_171122_168.JPG: Fred Astaire and Sister Adele Funny Face was the second Gershwin show to feature the brother-and-sister team of Fred (1899-1987) and Adele Astaire (1896-1981). The siblings began their careers as a child act in 1905, when he was six and she was nine. They worked together until 1932, when Adele retired from the stage to marry a British nobleman. This photograph was inscribed to George by Adele.
34. LOCGER_171122_174.JPG: Ira's Favorite Unpublished Song
35. LOCGER_171122_192.JPG: The Gershwins' First Film Ballad
36. LOCGER_171122_193.JPG: The Gershwins' First Film Musical When the Gershwins signed their contracts to write "Not less than eight" songs for a "sound, dialogue, and talking motion picture photoplay," the feature-length "talking" was not yet three years old. In all, the music they wrote for their first film, Delicious, included seven songs, a dream sequence, and "Manhattan Rhapsody," an instrumental piece that would become Goerge's Second Rhapsody. Academy Award-winning actress Janet Gaynor (1906-1984) performed the song "Somebody from Somewhere" in the film.
37. LOCGER_171122_198.JPG: The New Genre: The Musical Film: Following the success of The Jazz Singer (1927), American film studios produced a great number of musical films, among them Delicious. Playwright Guy Bolton (1884-1979) wrote the story, which he and screenwriter Sonya Levien (1888-1960) adapted as the filnm's screenplay. The final shooting script, shown here, includes the complete dialog and song lyrics, detailed descriptions of each scene and camera shot, and the cast of characters.
38. LOCGER_171122_211.JPG: Specialty Number from Shall We Dance: Musicologist Howard Pollack has suggested that George's exceptional compositional skill prompted the Shall We Dance filmmakers to make opportunities for some featured instrumental sections. These included the so-called "Dog Walking Sequence" (published with the title "Promenade") and a ballet. In addition, George wrote several connecting passages such as this "Interlude." This score is in George's hand, with Ira's annotations at the top.
39. LOCGER_171122_214.JPG: George's Last Completed Project: Fred Astaire and Ginger Rogers made ten films together, but Shall We Dance was the only one with a Gershwin score. The film was released May 7, 1937, just two months before George's death; it was the last of George's projects that he would see through to completion. Critics praised the film but the public was less enthusiastic. "(I've Got) Beginner's Luck" is one of the songs that Astaire and Rogers introduced in the film.
40. LOCGER_171122_222.JPG: George Compliments Fred Astaire
41. LOCGER_171122_229.JPG: Gershwins on the Set of Shall We Dance: This publicity photograph shows the principles involved in the production of Shall We Dance. Seated (from left) are Fred Astaire, Ginger Rogers, and George. Standing (from left) are dance director Hermes Pan (1909–1990), director Mark Sandrich (1900–1945), Ira, and musical director Nathaniel Shilkret (1889–1982).
42. LOCGER_171122_236.JPG: The Counterpoint Duet
43. LOCGER_171122_244.JPG: George S. Kaufman's Plot Outline
44. LOCGER_171122_248.JPG: Best-known Song from Let 'Em Eat Cake: Let 'Em Eat Cake opened on October 21, 1933, to a mixed reception by critics and public alike. This comparative lack of success may be attributed to a number of factors, including the worsening of the Great Depression and the fact that the tone o the show's satire was more caustic than that of its predecessor, Of Thee I Sing. The score yielded only one song that achieved any popularity as a stand-alone number: "Mine."
45. LOCGER_171122_253.JPG: Ira's Comments about "Mine"
46. LOCGER_171122_257.JPG: Ira's Lyric Notebook
47. LOCGER_171122_267.JPG: Porgy and Bess An American Folk Opera
48. LOCGER_171122_273.JPG: First Presentation at Metropolitan Opera: Although Porgy and Bess was first performed at Broadway's Alvin Theatre, George conceived of it as an opera from the very outset. In recent decades, the work has been staged by many important opera companies, including New York's Metropolitan Opera, where it received its first staging in 1985 in celebration of the fiftieth anniversary of its 1935 premiere.
49. LOCGER_171122_279.JPG: DuBose Heyward: Librettist and Lyricist
50. LOCGER_171122_284.JPG: Contract Regarding European Royalties
51. LOCGER_171122_289.JPG: Working Libretto for the Opera
52. LOCGER_171122_294.JPG: Poster for Performances in Warsaw
53. LOCGER_171122_306.JPG: Short Score for Porgy and Bess
54. LOCGER_171122_311.JPG: The Concert Hall
55. LOCGER_171122_317.JPG: An American in Paris
56. LOCGER_171122_330.JPG: The Gershwins and Their World
57. LOCGER_171122_334.JPG: George's First International Hit: In 1919 George and lyricist Irving Caesar (1895-1996) wrote "Swanee," in an effort to capitalize on the now-forgotten one-step hit, "Hindustan," by Oliver Wallace and Harold Weeks. Muriel DeForrest introduced "Swanee" in the Capitol Revue, the inaugural production at New York's lavish 4,000-saet Capitol Theatre, but the song attracted little notice. A few months later, Al Jolson heard it at a party and added it into his current show, Sinbad. The song was an immediate sensation, and it established George's international reputation.
58. LOCGER_171122_342.JPG: Precursor to Porgy and Bess
59. LOCGER_171122_348.JPG: Royalty Statements for "Swanee": Al Jolson recorded "Swanee" for Columbia Records on January 8, 1920, and the recording was released around February 20. Although George's name was virtually unknown at the time, "Swanee" became an immediate sensation,selling an estimated two million records and one million copies of the sheet music. "Swanee" was the biggest-selling song of George's career, far outdistancing the many classic songs that George would write in later years. These royalty statements document sound recording sales for the last six months of 1920.
60. LOCGER_171122_361.JPG: The Second Try: In 1925, Blue Monday was presented again, in a concert performance at Carnegie Hall, and retitled 135th Street. The score was reorchestrated by composer and arranger Ferde Grofe (1892-1972), who had also orchestrated Rhapsody in Blue the previous year. Shown with George are music critic Deems Taylor (1885-1966); Grofe; conductor for the performances Paul Whiteman (1890-1967); and the female lead Blossom Seeleyh (1891-1974).
61. LOCGER_171122_368.JPG: Ira Works with Aaron Copland
62. LOCGER_171122_372.JPG: Songs Based on Russian Melodies
63. LOCGER_171122_378.JPG: Peasants from The North Star: With an all-star cast and at a cost of more than $3 million, The North Star was the most lavish film produced by Samuel Goldwyn (1879-1974). The brainchild of playwright Lillian Hellman (1905-1984) and Academy Award-winning director William Wyler (1902-1981), the film was intended to foster pro-Soviet sentiment during World War II, when the Soviet Union was a U.S. ally. Shown on the set are the actors who played the film's realistic-looking Russian peasants.
64. LOCGER_171122_384.JPG: Ira's Biggest Hit: "Long Ago (And Far Away)" with music by Jerome Kern (1885-1945), is one of Ira's most enduring songs. Ira believed that he had written a "good, simple lyric" but not one that said "anything new." Measured by sheet-music sales, it was the biggest hit Ira had in any one year -- more than 600,000 copies of the sheet music were sold in 1944.
65. LOCGER_171122_392.JPG: Try and Try Again And Again
66. LOCGER_171122_402.JPG: Recent Acquisitions
67. LOCGER_171122_405.JPG: Creator of the role of Porgy (Todd Duncan)
68. LOCGER_171122_415.JPG: George Gershwin's Tiffany letter opener
69. LOCGER_171122_417.JPG: Todd Duncan, 1935
70. LOCGER_171122_420.JPG: George and Ira at work, Beverly Hills, California, 1937
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