When Does a Piece Meet a Composer's Standards for Publishing?
Or, why would a composer withhold a great piece from public view?  

Peter Bay crafted Arizona Philharmonic's Sunday, January 7, 3 pm concert to showcase pairings of works from the 18th and 20th centuries. As you're already familiar with the Mozart and Haydn pieces from our previous emails (What Makes a Piano an Ideal Instrument for Concertos? and What do Papa Haydn and Peter Bay Have in Common?), let's delve into the Gershwin and Rautavaara compositions featured in the program. Both of these works were composed early in their creators' careers, foreshadowing the trajectories these composers would later follow.

Einojuhani Rautavaara's Divertimento for Strings is among his earliest published works, written shortly after graduating from the Sibelius Academy in Finland. Although he had composed much music before this, Rautavaara chose to "withdraw" those earlier compositions, rendering them inaccessible for performance. However, Divertimento must have been a piece Rautavaara favored. It is written in a neoclassical style, a style characterized by borrowing elements of structure, rhythm, and counterpoint from classical traditions. Rautavaara would later explore other musical styles, most of them consonant in nature. Divertimento for Strings offers a glimpse into what one critic described as Rautavaara's journey towards creating "mesmerizingly beautiful music in the 20th and 21st centuries."

Similarly, George Gershwin's Lullaby was written during a pivotal period in his career. Already a successful Tin Pan Alley and musical songwriter, Gershwin was immersing himself in the formal study of classical music composition, including harmony, counterpoint, and orchestration. Lullaby, composed during this period, is often regarded as Gershwin's first "serious" work. Written five years before his iconic Rhapsody in Blue, Lullaby showcases the early stages of Gershwin's unique fusion of jazz and classical styles.

Gershwin's Lullaby became a favorite within his social circle, frequently performed at private gatherings. Despite his fondness for the piece, Gershwin never published it. It was only in 1967, long after his death, that Lullaby was publicly performed as a string quartet, thanks to the efforts of his brother, Ira.

Reflecting on this, it's intriguing to consider that many composers, regardless of their fame, have works they choose to keep private. While I have not earned the same acclaim as Rautavaara or Gershwin, I have many compositions that were important in my growth yet remain in my archives. (At least one other stays private because it is too personal.)

So why did Gershwin keep Lullaby from public view? Maybe it was kept for personal enjoyment. Or perhaps he felt it didn't compare to his larger, more complex works like Rhapsody in Blue. Personally, I find Lullaby as enchanting as the more familiar, yet similarly structured pieces in Gershwin's Three Preludes for Piano.

Below, you can listen to a beautiful recording of Lullaby. Pay attention to the subtler jazz elements, distinct yet less pronounced than in Rhapsody in Blue.

Additionally, you might find the violin's ethereal high notes near the opening interesting. These are produced using "harmonics," a technique where the musician lightly touches specific points on the string. This prevents the string from vibrating at its fundamental pitch while allowing higher pitches at harmonically related frequencies that are two to three times faster.
 

This Sunday, January 7, at 3 pm, come hear Maestro Peter Bay leading Arizona Philharmonic performing Gershwin, Rautavaara, Haydn, and Mozart (with renowned pianist Anton Nel), all within the sparkling acoustics of Ruth Street Theater.

- Henry Flurry, Artistic Director

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