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The man I love

composer
from Lady be Good, 1924
arranger
1944; from Gershwin's own piano transcription

 
The man I love (1944) is a concert arrangement of Gershwin’s own piano transcription. Grainger held that this was one of the greatest songs of all time and should take its place in immortality alongside the finest love-songs by Dowland, Schubert, Schumann, Brahms, Grieg, Tchaikovsky, Fauré, Duparc, Hatton, Maude Valérie White, Cyril Scott, Roger Quilter, Debussy and John Alden Carpenter. He went further by commenting that the opening phrase of Gershwin’s melody is indebted to a fragment from the slow movement of Grieg’s Violin Sonata in C minor, considering this as ‘a sign of genius in a composer to base his procedures upon an older, original composer.’

from notes by Barry Peter Ould © 2002

The man I love («L’homme que j’aime», 1944) est un arrangement de concert d’une transcription pour piano réalisée par Gershwin lui-même. Grainger la considérait comme l’une des plus magnifiques mélodies de tous les temps, digne de compter parmi les chefs-d’œuvre immortels aux côtés des plus belles chansons d’amour de Dowland, Schubert, Schumann, Brahms, Grieg, Tchaïkovski, Fauré, Duparc, Hatton, Maude Valérie White, Cyril Scott, Roger Quilter, Debussy et John Alden Carpenter. Il alla plus loin en faisant remarquer que la première phrase de la mélodie de Gershwin était redevable à un fragment du mouvement lent de la sonate pour violon en ut mineur de Grieg, considérant que c’était là «un signe de génie de la part d’un compositeur que de baser ses procédés sur ceux d’un précédent compositeur original».

extrait des notes rédigées par Barry Peter Ould © 2002
Français: Josée Bégaud

The man I love (1944) ist ein Konzertarrangement einer Klavierbearbeitung von Gershwin selbst. Grainger hielt dies für eines der größten Lieder aller Zeiten, das seinen Platz neben den besten Liebesliedern von Dowland, Schubert, Schumann, Brahms, Grieg, Tschaikowsky, Fauré, Duparc, Hatton, Maude Valérie White, Cyril Scott, Roger Quilter, Debussy und John Alden Carpenter einnehmen solle. Außerdem bemerkte er, dass die Anfangsphrase der Melodie Gershwins auf ein Fragment des langsamen Satzes von Griegs Violinsonate in c-Moll zurückginge, und dass es „den Genius eines Komponisten zeigt, wenn er sich auf einen älteren, originellen Komponisten bezieht.“

aus dem Begleittext von Barry Peter Ould © 2002
Deutsch: Viola Scheffel

Recordings

Gershwin: Fascinating Rhythm – The complete music for solo piano
CDH55006
Grainger: Rambles and Reflections
CDH55454
The Transcendental Tradition
APR5630Download only

Track-specific metadata for CDH55454 track 16

Artists
ISRC
GB-AJY-02-27916
Duration
3'45
Recording date
9 April 2001
Recording venue
Henry Wood Hall, London, United Kingdom
Recording producer
Amanda Hurton
Recording engineer
Tony Faulkner
Hyperion usage
  1. Grainger: Rambles and Reflections (CDA67279)
    Disc 1 Track 16
    Release date: June 2002
    Deletion date: March 2011
    Superseded by CDH55454
  2. Grainger: Rambles and Reflections (CDH55454)
    Disc 1 Track 16
    Release date: November 2011
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