February 2013 Auction Ends Wednesday, February 6th, 5pm Pacific
This lot is closed for bidding. Bidding ended on 2/6/2013
Extraordinary archive of unpublished letters by lyricist Ira Gershwin. Written from 1941-1978, lot comprises 85 autograph letters signed, 56 typed letters signed, 5 telegrams, 6 typed lyrics signed, a holiday card signed and 7 typed letters unsigned. Nearly all letters are on Gershwin's stationery, all written to Edward Jablonski, beginning while the latter was still in high school. Jablonski is himself an important historiographer of musicians and wrote a major biography of George Gershwin. Letters span one to four pages each, many signed in full, or as Ira, and some initialed. These letters by Gershwin offer rare insights into the mind and method of his brother and collaborator, composer George Gershwin, and the production of George's masterpiece ''Porgy and Bess.'' On 26 May 26 1961, in perhaps the most significant letter in the collection, discussing ''Porgy and Bess'' and George Gershwin's perception of the production, Ira writes: ''As for 'opera' or even 'grand opera' - of course. 'Folk opera' was a compromise arrived at so as not to scare the general public - or, rather - the average theatre-goer, away. I'm sure that somewhere I've written or told that the Met was eager to produce the work and that Otto Kahn offered George a bonus of $5,000 if the Met could have it. (George was flattered but realizing that at best the work could get a guarantee of 4, possibly 6, performances he turned it down for Broadway)...'' In the earliest letter by Gershwin, dated 9 January 1941, he reflects upon his brother's legacy, ''...I understand perfectly. I feel that way about him [George Gershwin] too. And there are many like us. I still get letters about him from places as far as New Zealand...'' From 18 June 1941, Gershwin writes, ''...'Short Story' was a piece that might have been included in the 'Preludes'. George wrote this at a very early age. Samuel Duskin heard it and asked if he couldn't arrange it for the violin. George agreed to it...There is an actual 4th prelude, however - unpublished. Since it is in 32 bar song form I'm going to put a lyric to it some day...'' From 22 September 1941, Gershwin is on the lookout for copyright infringement: ''...Never heard of the Haynes-Griffin Co. and their album of excerpts from 'P. & B' and 'American in Paris' etc. I imagine what they are offering are records of broadcasts like the one at the Hollywood Bowl of which I sent you a program. If it's something else, I'd appreciate your letting me know. And thanks for the tip on records issued by the Commodore Music Shop. I'll write them...'' From 6 April 1942, ''...Regarding '135th Street' I feel that George wouldn't have cared particularly about recording it because it was written in such a hurry and because 'Porgy and Bess' said in a much more mature way anything '135th Street' had to say...'' On 1 September 1943, Gershwin writes of the upcoming film biography of his brother: ''...I went over to the Warner lot the other day and saw a couple of sequences from 'Rhapsody in Blue'. I thought they weren't bad at all and that the unknown playing my brother captures a good deal of the spirit. It is of course too early to know how it's all going to turn out but it is obvious that both Mr. Lasky the producer and Mr. Rapper, the director, were trying hard to make a worthy film...'' On 30 October 1943, Gershwin writes, ''...Sorry you missed 'Girl Crazy'...I haven't seen it either...I hear the story isn't too original but that all the numbers are well done and it's really a tribute to the vitality of George's music that no interpolations have been made in the score and as for the lyrics I had to change only a couple of lines...'' 5 July 1945 letter reads in part, ''...I was a groom once but never had been a best man. Vincente Minnelli asked me to be his b.m. when he married Judy Garland so it was I who handed over the ring and now nobody can say I've never been a best man. Saw 'Junior Miss' and 'The Lost Week-End' in projection rooms. Both excellent movies - Don't miss them when they get around...'' On 17 September 1945, Ira is protective of his brother's musical legacy: ''...I didn't see that article in 'Metronome' but I did see a digest of it in 'Newsweek' a couple of weeks ago. I found what I read a malicious outpouring rather than an analytical criticism and therefore too special to be much concerned about. Generally, any unfavorable notice of my brother's music doesn't bother me too much. So someone doesn't like 'Rhapsody' or 'American in Paris' or whatever it is. So someone is entitled to his opinion. So all right. What does bother me is when I see phrases like 'naive orchestration' or 'structural ignorance' as though my brother were just a terribly talented fellow (which they grant) who somehow stumbled into the concert hall, was impudent enough to take advantage of it, put on a high pressure sales talk - and got away with it. With these critics there is an utter disregard of the facts that George from the age of 13 or 14 never let up in his studies of so-called classical foundations...'' On 11 March 1948, Ira runs afoul of the red-baiters: ''...As for being investigated by the Thomas Committee should you go to an institution Thomas doesn't approve of - you ought to feel you don't belong if you aren't subpoenaed. As you may or may not know I was recently summoned by the Tenney Committee (our local Un-American seekers) because a meeting of the Committee for the First Amendment was held at my home. It turned out to be nothing, but it's pretty bad that these committees have the power to drag you to them just because someone's uncle said he thought you were wearing that seemed to him a red tie at a football game last fall...'' On 28 September 1951, Gershwin writes, ''...Glad you agree that Columbia did a remarkable job with 'Porgy and Bess.' Those who questioned he recitatives will now, if they're at all musical, understand and appreciate that it wasn't composer's indulgence but powerful and authentic musical setting in the plot lines...'' On 18 May 1954, Gershwin writes, ''...Saw rough cut of 'Star is Born' last night. Fine acting and singing beautiful production. Has to be cut considerably though as it ran three hours and eleven minutes and a musical specialty of five to seven popular songs has yet to be added ('Melancholy Baby' 'Peanut Vendor' 'I'll Get By' 'Swanee' and one or two others) which will take, I imagine, twelve to fifteen minutes. This is the spot that's to close the first half of the picture and it was decided that any one new number wouldn't be socky enough...'' Gershwin adds, in reference to the tenuous finances of Jablonski's company, Walden Records: ''...Best to you and yours and hope that hole of red ink Walden is swimming in turns into a nice, clean pool of black...'' All letters are in very good to near fine condition, with varying degrees of wear. Overall, an important and fascinating collection with personal, revealing content.
Important Archive of 141 Autograph & Typed Letters Signed by Ira Gershwin -- Discussing His Brother George, ''Porgy and Bess'' & More -- ''...then go back to the grind again to find a new rhyme...''
Click above for larger image.