Table of Contents

* The New American Gershvins * From Tin Pan Alley... * ...to Broadway * 1924 * Modern Romantic * Interlude and Preludes * Hits and Misses * Americans in Paris * Transition: Broadway to Hollywood * Manhattan Rhapsody * Song Book * Porgy and Bess * The Goldwyn Coast * Epilogue: The Myths of Ira Gershwin * Compositions by George and Ira Gershwin

About the Author

Edward Jablonski is the author of The Gershwin Years: George and Ira (with Lawrence D. Stewart,available from Da Capo/ Perseus Books Group), Arlen: Happy with the Blues, Alan Jay Lerner, and many others. He lives in New York City.

Reviews

A self-confessed modern romantic, ``a man without traditions,'' George Gershwin wrote hundreds of lively, expressive, perfectly crafted songs, the opera Porgy and Bess and longer, more pretentious works that, 50 years after his death, remain in the repetory. Arguably, he is the most popular American composer of all time. In describing Gershwin's life and career, this long book, by a prolific writer on American music and military aviation, lists the highlights, repeats many familiar anecdotes and, curiously, does not include in the bibliography the Charles Schwartz biography that for some 15 years has been regarded as the standard work. For many readers, the most interesting part of this book will be the epilogue describing the later career of Ira Gershwin, who died in 1983, after ``he had just enjoyed some of his favorite chocolates.'' Photos not seen by PW. (September 18)

A well-timed biography, since this year marks the 50th anniversary of George Gershwin's death. Jablonski is thorough and obviously a fan, but concentrates mainly on social and career history, giving little insight into Gershwin or his work. He rarely offers either detailed musical analysis or glimpses into Gershwin's personal life. The book that might have been is revealed in the later chapters, particulary the one on Porgy and Bess , rich with anecdotes and details of the opera's creation. He makes some pointed observations about the conflict others saw between ``jazz'' and ``highbrow,'' but tries too hard as an apologist. Finally, a curious 45-page epilogue is devoted to lyricist Ira Gershwin's life and career after his brother's death. A fair biography, but not the definitive one Gershwin deserves. Mark H. Sullivan, Univ. of North Carolina Lib., Charlotte