0:00 Catfish Row (Act II, Scene III) 1:32 Strawberry Woman (Act II, Scene III) 2:35 Crab Man (Act II, Scene III) 3:31 Clara, Clara (Act III, Scene I) 6:01 Overture (Act I) 6:58 Summertime (Act I, Scene I) 9:43 I Got Plenty O’ Nuttin’ (Act II, Scene I) 11:21 Hurricane (Act II, Scene III) 13:04 Bess, You Is My Woman Now (Act II, Scene I) 16:23 Oh, I Can’t Sit Down (Act II, Scene I) 18:24 Theres A Boat Dats Leavin’ (Act III, Scene II) 21:00 It Ain’t Necessarily So (Act II, Scene II) 22:25 Oh Lawd, I’m On My Way (Act III, Scene III)
Miff, get out of my head. A favorite arranger in one of his best. Although Bennett would work with several of the top names on Broadway and in film including George Gershwin, Cole Porter, and Kurt Weill, his collaborations with Jerome Kern and Richard Rodgers stand out both for sheer volume and for highlighting different facets of an arranger's relationship with a composer. Bennett described his own philosophy: "The perfect arrangement is one that manages to be most 'becoming' to the melody at all points." With Gershwin and his Broadway musical scores, Bennett would work from annotated short scores (dual folios for piano with general suggestions for which instruments would play what.) He worked very closely as Gershwin's assistant during the period in which Gershwin composed his score for the 1937 Fred Astaire-Ginger Rogers film, Shall We Dance, often spending late nights with Gershwin rushing to complete orchestrations for deadlines. The next year Gershwin died. Later Bennett would be turned to yet again as a definitive orchestrator of Gershwin's other works, both on Porgy and Bess: A Symphonic Picture and the orchestral medley, "Gershwin in Hollywood". I've heard this arrangement many times, but never saw the score. The choices seem so obvious when seen on the page, but it takes a genius to stare down at an empty manuscript of staves and come up with this.
Thank you very much for this score-video! I had heard the full opera and Suite before, but never this arrangement (I only know of Russell Bennett from his "Suite of Old American Dances" for wind band); to be honest, I think I prefer this to the 'official' Suite - more cohesive and engaging throughout. Thanks again!
![[Score] Copland - "Billy the Kid" Suite (1938) for orchestra](http://i.ytimg.com/vi/T7chKWxMAAM/mqdefault.jpg)
![[Score] Copland - "Billy the Kid" Suite (1938) for orchestra](/img/tr.png)
![Dvořák: Symphony No. 8 in G major, Op. 88, B 163 (with Score) [reupload]](http://i.ytimg.com/vi/h0JunYUA3PA/mqdefault.jpg)
Композитор авангардист симфонической музыки
. Это симфоджаз ❤
0:00 Catfish Row (Act II, Scene III)
1:32 Strawberry Woman (Act II, Scene III)
2:35 Crab Man (Act II, Scene III)
3:31 Clara, Clara (Act III, Scene I)
6:01 Overture (Act I)
6:58 Summertime (Act I, Scene I)
9:43 I Got Plenty O’ Nuttin’ (Act II, Scene I)
11:21 Hurricane (Act II, Scene III)
13:04 Bess, You Is My Woman Now (Act II, Scene I)
16:23 Oh, I Can’t Sit Down (Act II, Scene I)
18:24 Theres A Boat Dats Leavin’ (Act III, Scene II)
21:00 It Ain’t Necessarily So (Act II, Scene II)
22:25 Oh Lawd, I’m On My Way (Act III, Scene III)
Miff, get out of my head. A favorite arranger in one of his best. Although Bennett would work with several of the top names on Broadway and in film including George Gershwin, Cole Porter, and Kurt Weill, his collaborations with Jerome Kern and Richard Rodgers stand out both for sheer volume and for highlighting different facets of an arranger's relationship with a composer. Bennett described his own philosophy: "The perfect arrangement is one that manages to be most 'becoming' to the melody at all points." With Gershwin and his Broadway musical scores, Bennett would work from annotated short scores (dual folios for piano with general suggestions for which instruments would play what.) He worked very closely as Gershwin's assistant during the period in which Gershwin composed his score for the 1937 Fred Astaire-Ginger Rogers film, Shall We Dance, often spending late nights with Gershwin rushing to complete orchestrations for deadlines. The next year Gershwin died. Later Bennett would be turned to yet again as a definitive orchestrator of Gershwin's other works, both on Porgy and Bess: A Symphonic Picture and the orchestral medley, "Gershwin in Hollywood".
I've heard this arrangement many times, but never saw the score. The choices seem so obvious when seen on the page, but it takes a genius to stare down at an empty manuscript of staves and come up with this.
watch out for a score video of gershwin in hollywood! (hopefully)
God!!!!!!! Summertime in symphonic version was fascinated however the blue version still best ❤
6:02 xylophone excerpt
Thank you very much for this score-video! I had heard the full opera and Suite before, but never this arrangement (I only know of Russell Bennett from his "Suite of Old American Dances" for wind band); to be honest, I think I prefer this to the 'official' Suite - more cohesive and engaging throughout. Thanks again!
::Можно эту оперу назвать мьюзиклом .