an ink-troduction to
PORGY AND BESS
Music by George Gershwin (1898-1937).
Lyrics by Ira Gershwin and Edwin Dubose Heywardby Adrian Tan
The musical legacy of George Gershwin makes a mark in the history of music in three ways. Firstly, he is the most popular American composer in the classical canon. In my opinion, his contribution to the American musical landscape is second only to Charles Ives who was the first to perhaps make it a point that his music was truly American. Next, Gershwin is often named as the most talented melodist after Schubert - he wrote memorable tunes in both his symphonic works and songs, making his music truly unforgettable. We only need recall the sultry blues trumpet solo in An American in Paris and the slow section of Rhapsody in Blue which leave indelible impressions on the mind, as audiences hum it to themselves long after they leave the concert hall.
Secondly, Gershwin is the single most successful composer to bridge the gap between jazz and classical music. Gershwin is fondly remembered as the very talented 'ofay'[white] piano player who arrived in time to provided a grammar for the exciting music of the Negro-American community. The music of Harlem, and of jazz greats such as Eubie Blake, is captured in Gershwin's musical evocations, starting an all-new phase in classical compositions that is still widely popular today because it makes "stuffy" classical music accessible to the many who just appreciate a nice tune and a catchy beat.
The epitome of Gershwin's work is the opera Porgy and Bess, completed towards the end of his life. It is a work which showed much promise, giving us a glimpse of Gershwin's art at a high before his untimely death robbed us of another great composer who could have become even greater.
THE INSPIRATION for Porgy and Bess came from the novel Porgy by Edwin Dubose Heyward in the mid-1920s. Heyward had derived the idea for this story from a newspaper article about a maimed black man named "Goat Sammy" or Samuel Smalls, who had assaulted a woman and tried to escape from the police in his goat cart. This would be reminscent in the final scene of Porgy and Bess as Porgy sets off to America with his goat cart in search of his beloved Bess. The author had drawn from his childhood familiarity of Charleston, South Carolina and memories of the hurricane of 1911 in re-creating the teeming life of Catfish Row. In 1926, Gershwin had read the novel and immediately wrote to Heyward about his desire to compose an opera about it but this plan was shelved due to difficulties all the way until March 1932, when Gershwin once again highlighted his intention to Heyward. (During this time however, Gershwin composed the one-act opera Blue Monday which met with little success, though a listen to the work would dispel any doubts that it was a worthy piece of work.) By this time, other eminent songwriters of the day such as Jerome Kern and Oscar Hammerstein had also declared their intentions of turning Heyward's Porgy into a musical. Only after the breakdown of discussions with producer Al Jolson over this musical venture was Gershwin given the green light to proceed with the opera.
Right: Detail from "Harlem" by Edward Burra, 1934.Gershwin's lyrical inspiration for Porgy and Bess was drawn from the visits to Carolina where he soaked up the music of churches, prayer meetings, homes and nightclubs. Of course, Gershwin's own upbringing in Harlem exposed him at an early age to all that jazz and the artistry of legendary musicians Art Tatum and "Fats" Waller. He had already demonstrated his "chops" as a talented and more than competent Jazz pianist that raised eyebrows amongst black musicians from the time he worked at Remick's Publishing House. The natural, negro-American music that thus flowed from this white man's pen thus comes as no surprise.
At this time, George Gershwin and Dubose Heyward also gained the collaboration of the very talented Ira Gershwin who lent his lyricism and wit to the powerful libretto that was the final Porgy and Bess. This amalgamation of art led to the creation if this provoking opera that not only made musical history but dealt with pertinent issues amongst negro-Americans of the day.
THE STORY centres around the hero Porgy, a crippled beggar, who is secretly in love with Bess, a girl who is despised by the rest of the women in Catfish Row and also the girlfriend of the neighbourhood thug, Crown. A drunk Crown gets into an argument with Robbins and subsequently kills him with a cotton hook. Crown escapes, leaving Bess to fend for herself. Porgy helps Bess with her life and their relationship deepens. In the second act, the people of Catfish Row go for a picnic on Kittiwah island, where Crown is hiding. Crown seduces Bess and promises that he will come for her. Porgy finds out about this and assures her with "Bess, you is my woman now".
A terrible storm breaks out and Jake, the fisherman's boat capsizes at sea. His wife Clara rushes out into the storm to look for her husband. Here Crown appears and challenges Porgy to join in the rescue like a man, before dashing off after Clara. After the storm, they lament the loss of Jake, Clara and Crown but Crown returns, but is subsequently killed in a fierce struggle with Porgy. Porgy is arrested for the murder of Crown. The devastated Bess falls prey to the lies of Sportin' Life, a local drug peddlar who entices her with drugs to go to America. Upon Porgy's release, he returns to Catfish Row to find that his love has gone and sets off with his goat cart to America with the rousing and hopeful "Oh lawd, I'm on my way". The story ends thus on this moving note with a certain gloom in the air as the audience knows that Porgy's search for Bess can only end in tragedy.
FOR ME, the opera's great merit lies in its portrayal of the people of Catfish Row and their lives. The music draws on Negro spirituals and the operatic singing style is infused with Jazz vocal stylings. A coming together of two almost extreme forms that Gershwin manoeuvres with such sensitivity and skill. For the critics who disagree that Porgy and Bess is an opera but something more like a musical because of its many 'song hits', Gershwin had this to say: "But songs are entirely within the operatic tradition. Many of the successful operas of the past have been songs. Nearly, all of Verdi's operas contain what are 'song hits'. Carmen is almost a collection of song hits. Of course, the songs in Porgy and Bess are only a part of the whole ... I have used symphonic music to unify and entire scenes"
And what song hits there are in Porgy and Bess ! The evergreen and ever so haunting "Summertime" that is delivered as a lullaby by Clara right at the beginning of the opera, the romantic "Bess, you is my woman now" and "I loves you, Porgy", Sportin' Life's cynical and worldly "It ain't necessarily so", the rousing "Oh Lawd, I'm on my way!" have found its way into the songbooks of song birds and instrumental soloists alike. But to recognize their true worth, one has to listen to them in the context of the opera. Much of the symphonic music Gershwin is talking about is also highly effective in creating the moods in the show, whether it is a hot summer's day in Carolina, or a violent thunderstorm that spells tragedy for so many.
The music from Porgy and Bess also spawned two concert suites, one "Catfish Row" by Gershwin himself and the other "Porgy and Bess: A Symphonic Potrait" by Robert Russell Bennett - both stand on their own as concert hall orchestral favourites.
Most notable of the revivals that are available on recording is the 1976 recording (RCA RCD3-2109) conducted by John DeMain. More recently, Simon Rattle's revival of the opera with the CBSO has received much critical acclaim (EMI CDS7 49568-2). I recommend the first for its authentic, direct and at all times passionate delivery of the work and the latter for a more subtle, deeper reading that I think comes closer to the meaning of the music and words.
The world was robbed of another great composer in his prime on July 11th, 1937. Gershwin was just 38. Unfortunately for him, recognition for his marvellous work on Porgy and Bess came only two years after his death. In celebration of this centennary of his birth, let's all take some time to revisit and re-appraise this marvelous piece of music which will certainly garner more admirers for many, many more years to come.
More Gershwin! Dayful of Song - Premiere Recording | The Complete VoxBox Gershwin | Feinstein Sings Gershwin | Gershwin: Remembrance & Discovery
Porgy and Bess - Selected Music on Record:
Complete Opera:
RCA RCD3-2109. Donnie Ray Albert/Clamma Dale/Wilma Shakesnider/Carol Brice/Larry Marshall. Houston Grand Opera/John DeMain. 3 CDs, full-price.
EMI CDS7 49568-2. Willard White/Cynthia Haymon/Harolyn Blackwell/Cynthia Clarey/Damon Evans. Glyndebourne Choir/London Philharmonic Orchestra/Sir Simon Rattle. 3 CDs, full-price.
- Highlights on one disc: EMI CDC7 54325-2, full-price.
DECCA 414 559-2. White/Mitchell/Boatwright/Conrad/Hendricks/Clemmons/Thompson/Quivar. The Cleveland Orchestra & Chorus/Lorin Maazel. 3 discs, full-price
- Highlights on one disc: DECCA 436 306-2. full-price.To experience the music of Porgy and Bess, try also the Porgy and Bess - Symphonic Suite and Catfish Row.
Der Fliegende Inkpot
Ring of DramaAdrian Tan is our unofficial Inkpot Gershwin Freak.
Back to the Classical Index!... or read previous reviews and features at the InkpotOther classical music reviews by this or any other writer can be obtained from the InkVault by doing a key word search with the writer's name.
290: 13.9.98
Readers' Comments
From: Mohd Nizam (Mohd_Nizam@hotmail.com / Wednesday, October 7, 1998 at 15:12:23)
Porgy and Bess is indeed one of the landmark works of Gershwin. Just to add on to your discography (though this relates to a different musical genre) - Miles' Davis seminal work on Porgy and Bess. Superb jazz interpretation. Miles at his best. Also - works by Ella Fitzgerald - the grand old lady of jazz.
From: l (cfairban@haverford.edu / Friday, September 8, 2000 at 06:36:42)
you said you did
From: l (cfairban@haverford.edu / Friday, September 8, 2000 at 06:36:49)
you said you did
From: sam (sffghh@aol.com / Saturday, June 9, 2001 at 22:57:56)
this was an excellent article with great info!!!!!!!!!!!!
From: Agnes (hms814@hotmail.com / Thursday, March 6, 2003 at 10:41:08)
Our town hall is putting on a rendition of Porgy and Bess. Although, I have heard of it before I was not sure of the plot consisted. Most sites assumed I should already know the story line. Thank you so much for a well researched, and detailed description. My only thoughts would be to add a bit of music so that I might be able to hear it as well as read about it.
From: sdec (ghkl;lkkkikkjgfghghughby / Tuesday, January 18, 2005 at 12:13:17)
aadfyi
From: Larry Wright (twospeedos@comcast.com / Saturday, February 19, 2005 at 07:42:43)
And now (or last year) in 2004, Clark Terry adds another beautiful rendition of this music, using the Gil Evans arrangements from the seminal jazz/classical album with Miles Davis in the late 50's. Along with the Chicago Jazz Orchestra, Mr. Terry ---at the age of 84!--- performs this music with astonishing lyricism and improvisational agility. [see the compact disc from Americana Music, 2004]
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