A few days ago, in a comment made partially in response to Schubert’s statement that Samuel Barber was the “foremost American composer”, I wrote that I agreed “if in strict keeping with the subject of this thread”. When I wrote that, I had George Gershwin in mind as contender for the title of “foremost”, with the qualification that he was not, in a strict sense, a Classical composer. Wonderful composer and arguably the greatest American song writer.
“Porgy and Bess” is a wonderful work and a true landmark in many respects and very controversial to say the least. Despite its huge success, many objected (and still do) to the idea of a white man’s notion of what life in the South at the time was like for blacks and that it promulgated racial stereotypes. In fact, to put Gershwin’s grasp (or lack thereof) of the subject in perspective, it should be noted that Gershwin spent a summer (?!) in South Carolina in order to get a sense of the flavor of black life in the South. At the same time many in the black arts community were glad for the fact that the work gave black singers an opportunity to perform on stage in a work on such a grand scale and of that “seriousness”. Gershwin insisted, and his estate still insists, that the cast be all black. The challenge was and still is in finding a large cast that can sing credibly in an operatic style as well as being able to bring a Jazz sensibility to some of the material. As an aside, he used a three saxophone section in his orchestration of the work. As we know, several of the songs have become Jazz standards. Gershwin called his work a “folk opera”.
Why all the above? Therein lies the reason that I have trouble with the Labeque interpretation of the “Porgy and Bess Fantasy (for two pianos)”. Very nice piano playing, but bizarre interpretation of the music. I know the music very well and I almost don’t recognize the music in spots. Too much “affectation”; and way too “precious” and languorous. Dare I say it? Too French. There is no hint of “folk” (Jazz) or Americana anywhere.
I find this rendition to be much truer to Gershwin’s intent; at least, based on how the music is approached the vast majority of the time:
https://youtu.be/uUfF-2JRHUUBtw, the composer “Aldridge Grainger” is none other than Percy Grainger; Australian born, but citizen of the US and “American” composer by any standard.
