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George Gershwin’s Concerto in F was a response to demands for a ‘proper concerto’ after the success of Rhapsody in Blue, avoiding programmatic content while providing a feast of tunes both uplifting and nostalgic. Originally intended as music for a film, his up-beat Rhapsody No. 2 describes the bustling Manhattan cityscape while under construction. Sourced from his hit musical Girl Crazy, I Got Rhythm Variations was Gershwin’s last full score.
Young soloist Orion Weiss is already established in the US and is rapidly making a name on the world concert stage. The Buffalo Philharmonic Orchestra lead by JoAnn Falletta already has a large Naxos following through acclaimed releases such as Corigliano’s The Red Violin (8559671).
Pianist Orion Weiss holds a leading position among American musicians of his generation. His impressive list of awards includes the Classical Recording Foundation’s Young Artist of the Year Award, the Gilmore Young Artist Award, an Avery Fisher Career Grant, the Gina Bachauer Scholarship at The Juilliard School and the Mieczysław Munz Scholarship.
JoAnn Falletta serves as Music Director of the Buffalo Philharmonic and Virginia Symphony in the United States and Principal Conductor of the Ulster Orchestra in Northern Ireland. Her Naxos recordings include the double GRAMMY® Award winning disc of works by John Corigliano and GRAMMY® nominated discs of works of Tyberg, Dohnányi, Fuchs, Schubert, and Respighi.
George Gershwin: Piano Concerto in F major
I. Allegro moderato - Cantabile - Poco meno scherzando
II. Andante con moto
III. Allegro con brio
George Gershwin: Second Rhapsody
George Gershwin: I Got Rhythm Variations
I Got Rhythm Variations
“Orion Weiss never engages in the kind of exaggeration which some pianists have used to define their identity and his dry rhythmic delivery is thoroughly idiomatic...All these pieces get snappy performances in well-balanced, clear recordings: an enjoyable collection.”
“The real star...is the band, who play with great gusto throughout...True, they may seem a little splashy under pressure, but that matters less when the music-making is as infectious as this...A decent concerto, but the fillers steal the show.”