Gershwin - Rhapsody in Blue & Concerto in F | Myrios MYR022

Gershwin - Rhapsody in Blue & Concerto in F


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Label: Myrios

Cat No: MYR022

Format: CD

Number of Discs: 1

Release Date: 16th February 2018



Kirill Gerstein (piano)
Storm Large (vocals)
Gary Burton (vibraphone)
St Louis Symphony


David Robertson


Gershwin, George

Piano Concerto in F major
Porgy and Bess
» Summertime
Rhapsody in Blue

Levant, Oscar

Blame it on my youth

Wild, Earl

Virtuoso Etudes (7) on Gershwin Songs
» Embraceable You
» I Got Rhythm
» Somebody Loves Me


Kirill Gerstein (piano)
Storm Large (vocals)
Gary Burton (vibraphone)
St Louis Symphony


David Robertson


A Gershwin Moment is upon us: Rhapsody in Blue and the Concerto in F — not so long ago marginalized repertoire in
limbo between classical and popular genres — are now, unapologetically, concert staples. George Gershwin is finally recognized as an early harbinger of musical synergies that we now take for granted. No longer viewed as an „inspired dilettante,” betwixt and between, the new Gershwin is a confident master, versatile and visionary.

In this album, recorded live, pianist Kirill Gerstein explores the music of George Gershwin. Together with conductor David Robertson and the St Louis Symphony he plays the Concerto in F as well as the original jazz band version of the Rhapsody in Blue. The programme also includes a selection of Gershwin songs in solo piano arrangements by the American pianist Earl Wild. The album features Gerstein’s collaboration with two special guests: vocalist Storm Large sings Gershwin’s “Summertime”. Together with the legendary jazz vibraphonist, Gary Burton, Gerstein plays a jazz standard “Blame It on My Youth” written by Gershwin’s close friend, Oscar Levant.


In terms of imaginative realisation, edgy stylishness and sheer opulence of sound, none outclass, in my opinion, this extraordinary new release by Kirill Gerstein with the St Louis Symphony under David Robertson, along with other artists. ... Gerstein’s music-making is direct from the heart, unsentimental but rich in sentiment. It’s also a bullseye evocation of that unique era of the 1920s and ’30s, with its blend of hedonism and hope at the edge of an abyss. And if something in the Mozartian grace and elegance of the Concerto’s finale doesn’t touch your heart, you may want to consult a cardiologist.  Patrick Rucker
Gramophone March 2018
Gramophone Editor's Choice

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