Gershwin, GeorgeBiblio.com
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1993réf. DADAX0769200567Alfred Publishing 1993-04-01. paperback. New. 9.00x1.32x12.00. Buy with confidence. Excellent Customer Service & Return policy. Alfred Publishing paperback
1998réf. DADAX0896034550Humana 1998-06-22. 1998. hardcover. New. 6.48x0.89x9.40. Buy with confidence. Excellent Customer Service & Return policy. Humana hardcover
2012réf. AME_9781441968357springer 2012. 6th. Hardcover. New/New. _ springer hardcover
1950réf. 218914New York: Warner Bros. Publications Inc 1950. First Edition; First Printing. Softcover. Very Good in wraps.; 4to - over 9¾" - 12" tall. Warner Bros. Publications Inc unknown
1960réf. 218910New York: Simon & Schuster 1960. First Edition; First Printing. Spiral bound. Near Fine in spiralbound boards. Very Good slipcase. Simon & Schuster unknown
2005réf. AME_9788181479419Elsevier 2005. 2nd. N/A. New/New. _ Elsevier unknown
2006réf. USD_9781588296047Humana Press 2006. 5th. Hardcover. Used - Like New/Used - Like New. _ Humana Press hardcover
1998réf. USD_9780896034235Humana Press 1998. N/A. Hardcover. Used - Like New/Used - Like New. _ Humana Press hardcover
2012réf. 304719New York: Simon & Schuster 2012. First Edition; First Printing. Hardcover. Very Good in a Very Good dust jacket. Remainder mark on bottom text block edge. Light edgewear on top and side panel edges. Small open tear on rear panel top corner.; 8vo 8" - 9" tall. Simon & Schuster hardcover
2001réf. AME_9780896038615Humana Press 2001. 4th. Hardcover. New/New. _ Humana Press hardcover
2002réf. AME_9781560534990Elsevier 2002. 1. Hardcover. New/New. _ Elsevier hardcover
1998réf. AME_9780896034235Humana Press 1998. N/A. Hardcover. New/New. _ Humana Press hardcover
1992réf. AME_9780896032255Humana Press 1992. 1st. Hardcover. New/New. _ Humana Press hardcover
2002réf. AME_9781402073038kluwer 2002. 1st. Hardcover. New/New. _ kluwer hardcover
2006réf. AME_9781588296047Humana Press 2006. 5th. Hardcover. New/New. _ Humana Press hardcover
2007réf. AME_9781588298188Humana Press 2007. 1st. Hardcover. New/New. _ Humana Press hardcover
1978réf. 119695London: Omnibus Press 1978. First Edition. Softcover. Very Good in wrappers. Some lamination peeling off wrappers. Inscription to previous owners on inside cover. First paperback edition. Large sticker on front wrapper.; From the collection of American jazz and pop vocalist Marlene VerPlanck and J. Billy VerPlanck.; 8.3 X 5.4 X 0.94 inches; 364 pages. Omnibus Press unknown
1998réf. 119870New York: Gramercy 1998. First Edition; First Printing. Hardcover. Near Fine in a Near Fine dust jacket.; From the collection of American jazz and pop vocalist Marlene VerPlanck and J. Billy VerPlanck.; 140 pages. Gramercy hardcover
1958réf. 72958New York: New World Music Corp 1958. First Edition; First Printing. Softcover. Very Good in wrappers.; 4to - over 9¾" - 12" tall. New World Music Corp unknown
1987réf. 45607New York: Treves 1987. First Edition; First Printing. Hardcover. Very Good in boards.; 1 x 7.8 x 5.12 Inches; 144 pages. Treves hardcover
2025réf. __3031698940Springer Nature 2025. Hardcover. New. 2nd edition. 650 pages. 10.98x8.26x11.22 inches. Springer Nature hardcover
1931réf. 020634New York NY: RKO Pictures Inc. 1931. Autograph. Very good condition. Unbound. Signed by Authors. First Edition. Quarto 4to. Two-page typed contract complete between the composers and RKO Pictures Inc. dated March 9 1931. The document signed by George Gershwin and Ira Gershwin formalizes former agreements to secure the copyright to seven previously unpublished songs that were all incorporated in the musical "Girl Crazy" which opened on Broadway on October 14 1930. The songs include: 1 Boy What Love Has Done To Me. 2 But Not For Me. 3 Could You Use Me. 4 Embraceable You. 5 I Got Rhythm. 6 Sam and Delilah. 7 Bidin' My Time. CONDITION: minor creasing and staple holes. Countersigned and with the stamp and embossed seal of Notary Public Ralph Kravette. These songs and this musical performance launched Ginger Rogers' career. RKO Pictures, Inc. Paperback
1935réf. 1246541935. First Edition. Signed. GERSHWIN George. Porgy and Bess. An Opera in Three Acts. By George Gershwin. Libretto by DuBose Heyward. Lyrics by DuBose Heyward and Ira Gershwin. Production Directed by Rouben Mamoulian. New York: Random House 1935. Folio original full red morocco raised bands black leather label on front cover top edge gilt. Housed in a custom clamshell box. $48500.Deluxe limited edition of the piano-vocal score of Porgy and Bess number 103 of only 250 copies signed by George Gershwin Ira Gershwin DuBose Heyward and director Rouben Mamoulian additionally inscribed by Gershwin to his lover Kay Swift who was intimately involved in the composition of the piece: ÒFor Kay Ñ/ Best Ñ/ George / Nov. 1 1935.Ó According to Ohl ÒbestÓ their code word for ÒloveÓ allowed them to be discreet.This deluxe edition of the piano-vocal score according to Fuld no orchestral score has ever been published was published in 1935 the year of Porgy and Bess premiere almost simultaneously with the first edition and is boldly signed on the limitation page at the rear by George and Ira Gershwin and the other principal creators of Porgy and Bess: librettist DuBose Heyward and director Rouben Mamoulian. Fuld 539. The recipient Kay Swift met Gershwin in 1925. A highly educated beauty of prominent social position she was not yet known as a songwriter her first big hit would be in 1929 with ""Can't We Be Friends"". ""If one measures by the dedication of his Song-Book to her his generous gifts of paintings manuscripts and other keepsakes that betokened affection plus the many hours he spent with her Gershwin obviously had a special place in his heart for Kay SwiftÉ With Kay Gershwin probably came as close to settling down with one woman as he ever did"" Schwarz 190. Swift was extensively involved with the composition of Porgy and Bess almost from the beginning: Swift was Gershwin's guest at the premiere of the play version by Heyward's wife. When composing the operaÑmuch of which occurred at a cottage on Swift's country estateÑSwift was often in her words Gershwin's ""soundboard"" for new ideas. ""'He'd call me and tell me to rush over to play the orchestra part of a song. He couldn't sing. Neither could Ira. But we'd all sing Ira's or DuBose Heyward's lyrics sounding like a chorus of crowsÉ Each day as the work grew a few of usÑBill Daly his close friend and favorite conductor and myself Ira of course and DuBose Heyward who wrote the libretto as well as some of the lyrics were probably present much of the time. It was thrilling to hear the themes develop the recitatives build into such an inevitable part of the score that they flowed as naturally as spoken words would. The whole sparkled with a fantastic quality of imaginationÉ She also had an even more direct part in the opera's development. In addition to listening singing and playing the work in progress Swift sometimes notated portions of pieces for Gershwin evidently to expedite his later work on the compositions. He believed she wrote faster and more neatly than she could."" Extensive portions of the original manuscript now in the Gershwin collection at the Library of Congress are in Swift's hand demonstrating ""her role as an assistant to the composer and signify the trust he must have placed in her and her notational and musical abilities"" Ohl 95-96. During actual production Swift attended most rehearsals and was present at many of the casting decisions. After the preview run in Boston it was clear that the four-hour opera was too long so ""Gershwin Mamoulian composer Alexander Steinert and Kay Swift walked the Boston Common in the early hours of the morning deciding which portions to cut""; one month later at the premiere in New York ""Swift was seated between George and Ira"". Later Swift would deliver lectures throughout the country as part of the promotion of Porgy and Bess. ""Ira recalled that she had memorized the entire 559-page score and would be illustrating songs from it at the piano"" Ohl 97-98. ""After her yeoman's effort during Porgy and Bess he presented her with a leather-bound autographed score the present copy that reads simply 'Tosic Kay. Best. George.' 'Best' their code word for 'love' allowed them to be discreet"" Ohl 115. Interior fine spine somewhat toned light rubbing to spine ends. A near-fine copy with an extraordinary association. hardcover
réf. 68665210-20Mosby. Used - Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Mosby unknown
1948réf. BK0120Atlanta Georgia: Atlanta Music Club 1948. Illustrated program 18 pp. 10 ¾ x 8 ½ inches stapled in illustrated blue wrappers. Near fine condition. A program for Paul Whiteman's all-Gershwin concert at Atlanta's Municipal Auditorium on November 6 1948 built around Whiteman's close place in the history of Gershwin's concert music. Whiteman had commissioned Rhapsody in Blue and conducted its celebrated first performance at Aeolian Hall in 1924 with Gershwin himself at the piano. More than two decades later and eleven years after Gershwin's death Whiteman returned to the composer's work with this touring "musical tribute." The program ranges across Gershwin's popular and concert works opening with an instrumental medley of "Swanee" "Do It Again" "Of Thee I Sing" "Someone to Watch Over Me" and "Love Is Sweeping the Country." Vocalists Eugenie Baird and Russell McIntyre appeared alongside guitarist Mike Pingitore and saxophonist Al Gallodoro while pianist Jane Anderson performed a variation on "I've Got Rhythm" the first movement of the Concerto in F and as the finale Rhapsody in Blue. The booklet also contains a photographic portrait of Whiteman and several essays reviewing his career and his role in the development of American popular and concert music including "The Dean of Modern American Music" and "Tops' Moves to the Blue." . Atlanta Music Club unknown
