Recrods: Joshua Bell's Gershwin Fantasy

By Evan Bialostozky

This year marks the 100th anniversary of George Gershwin's birth, and the celebration continues with this unique and creative recording, a synthesis of the talents of violinist Joshua Bell, conductor John Williams (composer of Star Wars, Superman, Jaws, Indiana Jones), and the London Symphony Orchestra. Gershwin was a prolific composer, but because of his premature death at the age of 39, his plan to compose a major musical work for the violin never was able to come to fruition.

Nonetheless, violinists throughout the century have made an effort to play Gershwin themselves. On this album, for instance, Bell offers an elegantly raw rendition of Jascha Heifetz's transcription of his piano preludes for the violin. Yet while Gershwin Fantasy includes classics such as these, it also showcases some new arrangements of Gershwin standards that expand on the Gershwin tradition.

The highlight of the disc is the "Fantasy for Violin and Orchestra on Porgy and Bess," arranged by Alexander Courage (composer of the original Star Trek theme) and based on the songs of the Gershwin opera. The medley of these songs, including "It Ain't Necessarily So" and "Summertime," is creatively crafted by Courage and brilliantly performed by Bell, equal parts evocative and innovative.

The music of the Porgy and Bess "Fantasy" is well adapted for Bell's shimmering playing style. While remaining faithful to the original opera, this arrangement provides fireworks and flair that could only be set off on the violin.

A popular form of virtuoso violin music in the 19th century was the fantasy, based on a favorite opera of its day--for example Sarasate's "Fantasy on Carmen," which is still heard in concert halls to this day. Courage has resurrected this genre using Porgy and Bess, one of the most successful operas of the 20th century.

The other piece worth mentioning on this CD is "Sweet and Low-Down," a transcription of a humorous Gershwin tune. What makes it unique is the piano solo in the middle, played by George Gershwin himself.

With Unforgettable-like precision, the recording engineer overlayed a 1926 player piano roll atop Bell and the LSO. Although the styles clash somewhat due to Gershwin's more rigid manner of playing, this song is certainly a gem on a charming recording. (Sony Classical)

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