Composer: George Gershwin
Works: Rhapsody in Blue, Concerto in F, An American in Paris, Variations on “I Got Rhythm”
Performers: Earl Wild (pianoforte), Boston Pops Orchestra/Arthur Fiedler
Recording: Recorded 1959 (Rhapsody, American), 1961, location not given
Label: RCA
George Gershwin, a pioneering figure in American music, seamlessly bridged the worlds of classical and popular genres during a period of tremendous cultural evolution in the 20th century. His orchestral works encapsulate the vibrancy of jazz, the complexities of classical forms, and the unique character of American life. The recordings presented here, featuring Earl Wild on piano and conducted by Arthur Fiedler with the Boston Pops Orchestra, capture Gershwin’s signature style, albeit through the lens of 1950s sensibilities.
Earl Wild’s interpretation of “Rhapsody in Blue” stands out for its technical prowess yet occasionally veers into over-interpretation. The opening clarinet glissando, which has become iconic, is juxtaposed with Wild’s tendency to apply ritardandos and pauses that, while expressive, may feel excessive when compared to the more straightforward, spontaneous feeling of the famed 1927 recording with Paul Whiteman. This extravagance can distract from the inherent rhythmic drive of the piece. However, upon revisiting the recording, one can appreciate Wild’s refined pianism, which, despite the occasional indulgence, remains fundamentally aligned with the essence of the score. Fiedler’s orchestral direction complements Wild’s interpretation, maintaining a lively pulse that hints at the original jazz band setting while layering it with symphonic richness.
The “Concerto in F” enables a richer exploration of Wild’s capabilities. The first movement’s robust and confident opening captures the listener’s attention, with Wild navigating the intricate interplay between piano and orchestra with skill. The finale, a lively escapade, showcases the work’s energetic syncopations and jazzy motifs, performed with a verve that rivals Gershwin’s own incomplete recordings. Fiedler’s conducting reveals a clear understanding of Gershwin’s language, providing a buoyant backdrop that enhances the conversational quality between the soloist and ensemble. The balance throughout the concerto is commendable, although certain passages exhibit a slight muddiness in orchestral timbre, likely a byproduct of the recording’s age.
“An American in Paris,” performed without Wild, captures the atmosphere of the city with vibrant orchestral colors and effective brass fanfares. Fiedler imbues the piece with a sense of motion and fluidity, deftly managing the transitions between the various themes and ensuring the blues motifs maintain a rhythmic pulse that avoids lethargy. The Charleston finale is exuberantly rendered, showcasing Fiedler’s skill in balancing orchestral forces while avoiding the pitfalls of a heavy-handed approach. Comparatively, this recording does not evoke the lushness of Leonard Bernstein’s interpretations but offers a spirited alternative that serves as an excellent introduction to Gershwin’s orchestral palette.
Sound quality presents a mixed picture; while the recordings benefit from a certain warmth and character, the piano’s tonal clarity suffers, occasionally blending into the orchestral fabric rather than standing out as a distinct voice. This is particularly evident in the quieter passages where Wild’s nuanced touch becomes overshadowed by the Boston Pops’ robust sound. The reverberation typical of the Boston venue can obscure finer details, leading to a somewhat homogenized listening experience.
This collection serves as a solid entry point into Gershwin’s orchestral world, although it may not satisfy those seeking the definitive interpretations of his works. The performances, while skillful, lack the vivid personality and spontaneity found in other notable recordings, such as those by Bernstein or even the earlier Whiteman sessions. Wild’s pianism, although proficient, does not convey the electric energy that is quintessential to Gershwin’s music. Nevertheless, for first-time listeners, this recording encapsulates the charm and complexity of Gershwin’s oeuvre and provides a valuable historical snapshot of mid-20th-century American classical music performance.
