Die Trapp-Familie looks familiar to American audiences, as 20th Century Fox’s The Sound of Music shamelessly ripped off its costume and set design, its color palette, and many of its scene compositions. But what the American movie lacked was the Viennese charm and humor of the original, as well as its two immensely glamorous stars, German-born Ruth Leuwerik (1924-2016) and Austrian-born Hans Holt (1909-2001).
Die Trapp-Familie in Amerika, however, although filmed in location in the States, is wonderfully unfamiliar and well deserves a viewing: New York’s Lower East Side and the rich melting pot of immigrant life, as idealized by post-war European filmmakers. The struggle of the von Trapps as penniless political refugees isn’t ignored, but for the most part their story is told light-heartedly.
Pay attention, as well, to the music, especially in Die Trapp-Familie in Amerika. Grothe, a popular composer in Germany (he remained in Germany throughout the war, a reluctant Party member) composed a creditable Gershwin-like score for this sequel, particularly in the underscoring of a quiet scene between Georg and Maria gazing out at the Brooklyn Bridge while worrying about their family’s future (21:22). In German and English.
Premiered at Symphony Hall, Boston, on 29 January 1932, with the Boston Symphony Orchestra; Serge Koussevitzky, Conductor and George Gershwin, Piano.
In November 1930, George and Ira Gershwin arrived in Hollywood to write the score for their first movie, Delicious. Besides the songs, George was asked to compose an instrumental piece to underscore a sequence where the film’s immigrant heroine wanders through a somewhat menacing Manhattan. In the end, only six minutes of what was originally entitled “Rhapsody In Rivets” was used but George, never wanting good work to go to waste, believed that his score deserved an additional life as his next work for the concert hall. Upon his return to New York, while also working on the score for Of Thee I Sing (which was to win the Pulitzer Prize in 1932) he completed the Second Rhapsody and prepared it for its Boston debut under the baton of Serge Koussevitzky (Leonard Bernstein’s mentor).
Pictured above is Lancashire-born conductor/organist/pianist Wayne Marshall, 57—with credits as Chief Conductor of WDR Funkhausorchester; Organist and Associate Artist of the Bridgewater Hall, Manchester; Principal Guest Conductor of Orchestra Sinfonica di Milano Giuseppe Verdi; and as an acclaimed interpreter of George Gershwin and Leonard Bernstein.
The form most commonly heard today is a re-orchestrated version created fourteen years after Gershwin’s death. Since this version is the only one offered by the publisher, it has been almost impossible for orchestras to perform the piece as Gershwin envisioned it. However, the 1931 recording (above) of a run-through of the music, with Gershwin playing the solos and conducting the orchestra, gives some idea of the original version. Michael Tilson Thomas has been a promulgator of Gershwin’s original 1931 version. He sought out the original manuscript in the library as the basis of his 1985 recording and for his later performances.
My bonny John Wilson‘s latest CD release, The Best of The John Wilson Orchestra, recycles some of the song hits from his BBC Proms shows—but it also includes his never-heard-before version of Gershwin’s Second (here called “New York”) Rhapsody. A bit heavy-handed.
In a podcast interview for the English National Opera, this is what my bonny had to say:
“There are very few pieces I can say I’ve been waiting all my life to conduct, and this is one of them. In my, kind of, college years or whenever that was, I got the Simon Rattle LP and I kind of wore out the groove of those records and had to buy ‘em on CD…”
Of course it’s known for the hit tunes that have been extracted from it, but it’s much more than that… And I would even say that the most interesting music in the opera is the ariosos, the small pieces which link everything together and the incidental music… It’s really very ambitious… It’s George Gershwin at his most inventive, and as Gershwin was arguably the greatest tunesmith of the twentieth century, you’re looking at melodic material from the very very top drawer…”
Tunesmith—sheesh. And I miss the goat. Without the goat, there is no Porgy and Bess (2:31:25).
For those who are familiar with the score, the very opening will seem slower. It is clear from Gershwin’s metronome markings and from the articulations in the orchestral parts that he intended the opening to be moderately fast (marked ‘Risoluto e Ben Marcato’ in the composer’s hand), exposing its inner syncopation and then accelerating. ‘Summertime’ is faster than we are accustomed. It is not a sad song, after all, and ‘A Woman is a Sometime Thing’ is slower. In fact, these two ‘lullabies’ by the mother and the father of their nameless child, are at the same metronome marking. In other words, Gershwin wanted to link the daddy and the mommy to each other by the speed of their music, even if their words and styles are quite (humorously) different.” On Porgy & Bess ©John Mauceri
Anthony Tommasini in his New York Times review of the English National Opera’s production of Porgy and Bess described my bonny as the “excellent John Wilson, who led a performance that had sweep, shape and vitality, as well as rarer qualities: precision and restraint”. Here’s our John from this past summer rehearsing “Summertime“. Performances of ENO’s Porgy and Bess run to 17 November.
…being wildly applauded in this photo of opening night. Lest we forget, it was The Old Man who directed the very first production of P&B. (Oh, he never let me forget it.) That’s him behind Gershwin in the goggle glasses.
Castles were crumbling
And daydreams were tumbling
December was battling with June
But on this bright afternoon
Guess I’ll be changing my tune
We can thank composer/arranger Kay Swift, George Gershwin’s secret lover, for making sure this song found its perfect setting in this 1947 20th Century Fox musical after his untimely death ten years earlier.
John, if you were going to choose one song from the film The Shocking Miss Pilgrim for your Gershwin in Hollywood album, what made you choose that boring Dick Haymes-led duet “For You, for Me, for Evermore” rather than the much more melodic and clever “Changing My Tune”?