Rhapsody in Blue stands as an iconic piece of American music with riveting orchestration, and a cultural footprint that reflects the modernity of the early 20th century. Beyond its artistic merits, the composition has provided numerous cultural touchstones, including its usage as the theme for United Airlines commercials, score backing for films such as “Fantasia 2000,” and countless memorable recorded performances, including a personal favorite by Leonard Bernstein. Among these recordings is a significant one performed by George Gershwin himself at the piano, with accompaniment by the Paul Whiteman Orchestra.
Recorded on June 10, 1924, and released that October, this version is not just historic for its timing, produced shortly after the piece’s premiere in February of the same year, but also for its details. While today’s audiences might not find it unusual, the phenomenon of a composer or musical artist performing their own work is rare in the history of human experience. Until the late 19th Century, the only way to experience music was in a live setting. By 1924, it had become more and more commonplace to experience music through commercially available recordings. When listening to the 1924 recording by Gershwin, listeners today have a direct auditory link to the piece’s 1924 inception. This is in stark contrast to classical pieces by composers like Mozart, Beethoven, and Bach, who never had the opportunity to record their works. Our understanding of these compositions is shaped by interpretations that are decades or centuries removed from their original creation. Yet, Gershwin’s personal interpretation of his composition offers a unique connection to the moment of its creation, allowing us to hear the piano played with the intensity Gershwin intended. It invokes a feeling of closeness to a time long removed from the current moment.
The accessibility of Gershwin’s 1924 recording is enhanced by its passage into the public domain. Such accessibility enriches our cultural heritage and allows for a deeper understanding of the moment in which it was produced. It is not some far-off German or French musical masterpiece, but a living document in which we can hear the direct influence of the composer. This direct access to Gershwin’s performance is an invaluable resource, providing a rare auditory bridge to the past. So, the next time you listen to “Rhapsody in Blue,” consider choosing the 1924 version performed by Gershwin. Imagine the uniqueness of that experience and the profound connection to history it offers, replicating the original sound and transporting us to the moment of a bygone era.
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