Though a prominent British reviewer of what became the hit Met production of Porgy and Bess called Gershwin’s landmark 1935 opera “a period piece,” it loudly resounds today. Consider the first act confrontation between a white detective and a black community. “Race is critical to Gershwin’s conception,” observes the Gershwin scholar Mark Clague in the most recent … [Read more...] about Porgy and the White Police
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The New Deal, the Arts, and Race — and Today
FDR’s New Deal included the Works Progress Administration, which generously supported the arts in unprecedented ways. Employing writers, composers, visual artists, and performers via Art, Music, and Theater projects, the WPA was a massive employment agency -- and the closest Washington had come to emulating European arts subsidies. The Music Project alone gave 225,000 … [Read more...] about The New Deal, the Arts, and Race — and Today
Porgy Takes a Knee — “Porgy and Bess” and the American Experience of Race
“It’s interesting that Gershwin chose as his protagonist a person who’s on his knees. ‘Taking a knee’ has never been more relevant.” That’s Kevin Deas, a distinguished exponent of Gershwin’s Porgy, talking a few days ago on PostClassical Ensemble’s “Porgy and Bess Roundtable” zoomchat alongside another eminent African-American singer: George Shirley. “I’ve been thinking … [Read more...] about Porgy Takes a Knee — “Porgy and Bess” and the American Experience of Race
The Gershwin Threat/The Gershwin Moment
Paul Rosenfeld, whose writings on American modernist composers were once regarded as insightful and prophetic, detected in George Gershwin the Russian Jew “a weakness of spirit, possibly as a consequence of the circumstance that the new world attracted the less stable types.” Rosenfeld (whose own lineage was German Jewish) also wrote of Gershwin: “His compositions drowse one … [Read more...] about The Gershwin Threat/The Gershwin Moment
Why Did Shostakovich Join the Party?
One of the most controversial acts in the ever controversial life of Dmitri Shostakovich was his tortured decision in 1960 to join the Communist Party – a decision that has variously been portrayed as cowardly, politically pressured, or basically volitional. It is not mentioned in Testimony (1979) – the composer’s influential memoirs, collaboratively written with Solomon … [Read more...] about Why Did Shostakovich Join the Party?