Composition
Gershwin based An American in Paris on a melodic fragment called "Very Parisienne", written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a "rhapsodic ballet" because it was written freely and is more modern than his previous works. Gershwin explained in Musical America, "My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere."
The piece is structured into five sections, which culminate in a loose ABA format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final “Grandioso.”
Read more about this topic: An American In Paris
Famous quotes containing the word composition:
“If I don’t write to empty my mind, I go mad. As to that regular, uninterrupted love of writing ... I do not understand it. I feel it as a torture, which I must get rid of, but never as a pleasure. On the contrary, I think composition a great pain.”
—George Gordon Noel Byron (1788–1824)
“There is singularly nothing that makes a difference a difference in beginning and in the middle and in ending except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations and this is what makes everything different otherwise they are all alike and everybody knows it because everybody says it.”
—Gertrude Stein (1874–1946)
“Pushkin’s composition is first of all and above all a phenomenon of style, and it is from this flowered rim that I have surveyed its seep of Arcadian country, the serpentine gleam of its imported brooks, the miniature blizzards imprisoned in round crystal, and the many-hued levels of literary parody blending in the melting distance.”
—Vladimir Nabokov (1899–1977)