(Fretted). Long out of print, these virtuoso transcriptions by the legendary violinist Jascha Heifetz date from 1947, and have previously been available only separately. These showpieces capture the excitement of Gershwin's score in a unique and fascinating way. Includes: It Ain't Necessarily So * Summertime * A Woman Is a Sometime Thing * I Got Plenty O' Nuttin' * Bess, You Is My Woman * Tempo Di Blues.

Examines the opera Porgy and Bess's long history of invention and reinvention as a barometer of 20th-century American expectations about race, culture and the struggle for equality.

(Super Easy Songbook). It's super easy! This series features accessible arrangements for piano, with simple right-hand melody, letter names inside each note, basic left-hand chord diagrams, and no page turns. Lyrics are also included. This edition includes 22 Gershwin classics: But Not for Me * Embraceable You * Fascinating Rhythm * I Got Rhythm * I've Got a Crush on You * Let's Call the Whole Thing Off * Nice Work If You Can Get It * Rhapsody in Blue * Someone to Watch over Me * Summertime * They Can't Take That Away from Me * and more.

Basis for light opera Porgy and Bess. Story of crippled Negro beggar and his friends and enemies in Charleston, S.C.

A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”

Porky is messy. . . morning, noon, and night. Bess is perfect in every way imaginable—from her well-appointed cupboard to the figure eights she skates at the local pond. But somehow these two unlikely friends complement one another like tea and toast. So when Porky finds himself in a pickle—he can’t finish writing his poem and the secret ingredient from his favorite recipe is missing—who is there to lend a hand? Bess, of course! The everyday adventures of these two very different friends will delight newly independent readers who are ready for some funny, episodic storytelling.