Sounds of Summer; 8; Boston Pops Plays Gershwin

BEEP BEEP BEEP BEEP BEEP BEEP BEEP BEEP BEEP BEEP Oh,

oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

Hi. Hi. Hi. Fog and Sounds of Summer brings back the Boston Pops Orchestra under the direction of Arthur Fiedler, in a concert of music by George Gershwin. Now, if you don't know about Arthur Fiedler and the Boston Pops by now, I guess there isn't too much to die or anyone else can tell you, except that during the next two hours, you're in for a real treat. If you don't know about George Gershwin, of course, that's a much more serious problem. George Gershwin was born in Brooklyn, New York, on September 26th, 1898. He died in Hollywood, California on July

11th, 1937. And between 1920 and 1933, Gershwin's songs, written mostly in collaboration with his lyricist, Brother Ira, appeared in more than a score of Broadway's most popular musical comedies. From George White's scandals of 1922, came mild build a stairway to paradise. For Lady Be Good, in 24, Gershwin wrote the title song, Oh, Lady Be Good, and Fascinating Rhythm. Someone to watch over me was written for, a show called, O -K, which opened in 1926. And in the three -year span between 1927 and 1930, musical comedy fans were treated to such Gershwin delights as the man I love, funny face, wonderful, and strike up the band. And then an opening night of Girl Crazy, on October 14th, 1930, a young girl stepped out onto the stage of New York's Alvin Theater and belted out a Gershwin song

that made her a star overnight. The name of the girl, as some of you know, was Ethel Merman, the name of the song was, I got Rhythm. Now here in some rare and valuable old film, loaned to Sounds of Summer by Alex Steinert, composer, conductor, and friend of Gershwin's, is George Gershwin himself, playing, I got Rhythm. Following that, there's a sequence at a rehearsal of strike up the band in which Gershwin plays the title song, joined by the comedy team of Clark and McCullough, and a chorus of dancers. Okay.

In addition to show tunes for Broadway musicals and films, Gershwin wrote a good deal of more serious music, and that is what Arthur Fiedler and the Boston Pops are featuring in tonight's concert. In the first half of the program, we'll hear an American in Paris and Concerto in F. Now

it's time to go to Boston Symphony Hall where the audience is awaiting the arrival and stage of Mr. Arthur Fiedler. In

the first half of the program, the audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The

audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops.

The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops.

The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The

audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops.

The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops.

The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The

audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops.

The audience is awaiting the arrival and stage of Mr. Fiedler and the Boston Pops. The audience is awaiting the arrival and the Boston Pops. Thank

you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank

you very much. Thank you. Thank you very much.

Thank you very much. Thank you very much. Thank you very

much. Thank you very much. Thank you very

much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank you very

much. Thank you. Thank you very much. Thank you very much. Thank you very

much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank

you very much. Thank you very much. Thank you very much. Thank you

very much. Thank you very much. Thank you

very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank you

very much. Thank you very much. Thank

you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank

you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank

you very much. Thank you very much. Thank you very much.

Thank you very much. Thank you very much. Thank you very much. Thank you very much. Rhapsody in blue, probably Gershwin's most acclaimed, Serious

Work, which we'll hear in the second half of the program, preceded the first public performance of Concerto and F by a year. Those who expected a sensational sequel to the first work were a bit let down. Whereas Rhapsody was scored for Jazz Band and Piano, the Concerto was scored for a symphony orchestra, and actually represented a considerable advance for Gershwin, both in the form and the handling of the orchestra. One of the favorite indoor sports of Gershwin's friends was to argue the merits of his natural ability, as opposed to what could be achieved through study. Some wanted him to spend all of his time writing showtunes, while others felt he should devote himself entirely to Serious Music. Gershwin stated his own position in this way. He said to me, feeling counts more than anything else. In my belief, it eventually determines the greatness of any artistic effort. It means more than technique or knowledge, for either of these without feeling is of no account. Of course, feeling by itself is not enough, but it is the supreme essential. Sans of Summer

will continue with more Gershwin music played by Arthur Fiedler and the Boston Pops, right after this brief pause for station identification.