Gregory Stone has transcribed these three selected preludes for one piano-four hands.For much of his life George Gershwin sought to integrate the worlds of jazz and classical music. These pieces are not jazz improvisations but they do show something of the style of his own playing. Gershwin had intended to compose a set of twelve, a sort of jazz Wohltemperierte Clavier, but his unexpected death from a brain tumour at the age of 38 prevented this. At least seven survive (others may have ended up as songs), and this set of three, as published, form a satisfying unit.The first opens with a blue-note riff which forms the basis of the first theme. Contrasting material follows, making use of a distinctive repeated note figure, then the first idea reappears in a quasi-orchestral climax. The second prelude shows a curious kinship with Chopin's A minor Prelude, with its eerie accompaniment and hypnotic melody. The third exploits a similar major/minor ambivalence, but dextrous syncopation gives it driving rhythmic energy. / Piano 4 Mains

George Gershwin Rhapsody In Blue arranged for Piano Duet after the original score by Henry Levine.

Following the Rhapsody In Blues and its instantaneous success Walter Damrosch conductor of the New York Symphony Society commissioned George Gershwin to write a Concerto for piano and orchestra. It was a supreme test but the Concerto in F resulted and was performed for the first time with Gershwin as soloist under Damrosch with the New York Symphony Orchestra at Carnegie Hall December 3 1995.

A Selection of George and Ira's greatest songs and themes. Both became part of the Tin Pan Alley music scene of the 20's 30's and 40's and made a name for themseleves in Broadway in the first time separatly. This is only a few years later that the two decided to wrote together; to offer us great songs and themes.

Arrangeur: Gregory Stone. Par GERSHWIN GEORGE. Arrangé pour un piano à quatre mains par Gregory Stone/ Répertoire / Piano 4 Mains

Rhapsody in Blue catapulted George Gershwin into a world-famous career. It brought jazz into the concert hall using a musical language that was fresh, spontaneous, and uniquely American. This edition is based on the 2-piano version, first published in 1924 by Warner Brothers Music Corporation. Editorial pedal and fingerings are included. 48 pages.