The Slipped Disc daily comfort zone (167): Gershwin, the man himself

David K. Nelson says:

And even Oscar Levant’s mother thought it was bad for his reputation as a serious pianist to be playing the Rhapsody in Blue as often as he did. Levant wrote that it became a private joke between Gershwin and himself that his mother would sigh “again the Rhapsody.” Even stranger than knowing Richter recorded the Concerto is to learn that Rudolf Serkin recommended it to his pupils as a piece they had darn well better learn, even if it is nearly impossible to imagine Serkin playing it himself. (I suspect the great trumpet teachers also make sure their best and most promising pupils are well prepared to play that glorious solo).

I am glad you mentioned Jesús María Sanromá, Edgar, as there is a once-famous name which is on the brink of disappearing, which is odd and sad given his talent and his pedigree of having worked with Cortot and Schnabel after graduating from the NE Conservatory. He gave important first performances of many works while official pianist for the Boston Symphony (and thus, also the Boston Pops), recorded the Paderewski Concerto with Fiedler in sessions that the elderly Paderewski attended (something RCA Victor made sure to remind folks of when Fiedler and Earl Wild recorded it in stereo with the London Symphony), and he and Fiedler were the first to record the MacDowell Concerto #2. Yet when I started collecting records I think the only Sanromá recording that you ever saw in stores was the Ferde Grofé Concerto, not perhaps a work to keep a reputation alive, nor a work to hold a reputation as a “Gershwin specialist” at arm’s length. Then RCA started one of its Heifetz Collection projects and revived the wonderful recording from 78s of the Chausson Concerto for Violin, Piano and String Quartet.