George Gershwin – Piano Concerto in F Major

The Jazz Age shaped artists and musicians alike. This painting by Lyonel Charles Feininger reflects the spirit of the era that inspired Gershwin’s music.

George Gershwin first achieved fame as a songwriter, yet from the very beginning of his career he aspired to compose what was then considered “serious” concert music. That ambition took shape decisively when conductor and impresario Paul Whiteman commissioned him to write a work for a so-called “jazz concerto.” The result was Rhapsody in Blue, a groundbreaking piece for piano and orchestra that instantly transformed Gershwin into a cultural phenomenon.

Just one year later, in 1925, Gershwin received a new and more demanding commission—this time from New York conductor Walter Damrosch—for a full-length concerto in the European tradition. Working simultaneously on the Broadway shows Tell Me More and Tip Toes, Gershwin composed what he initially titled the New York Concerto, later known as the Piano Concerto in F Major.

The concerto was premiered at Carnegie Hall on December 3, 1925, conducted by Damrosch with Gershwin himself as soloist. Among the distinguished audience members were Sergei Rachmaninoff and violinist Jascha Heifetz. Although some critics reacted cautiously, the majority recognized the work as a landmark achievement—one that firmly established Gershwin as the leading American composer of his generation.

The Piano Concerto in F Major represents a masterful fusion of jazz idioms and symphonic architecture. Jazz elements are emphasized through syncopation, blue notes, expanded percussion, and the inclusion of saxophones, while the concerto maintains the structural coherence and scale of the classical tradition.

Movements: 

Ι. Allegro

The concerto opens with an energetic percussion-driven introduction. Timpani, bass drum, snare drum, and cymbals set a pulsating rhythmic foundation, joined by syncopated chords in woodwinds and brass.

The piano enters with a relaxed, blues-inflected theme featuring the characteristic blue note, a melodic idea that will return triumphantly near the end of the final movement. The remainder of the movement is marked by constant shifts in rhythm, mood, and texture, alternating between jazzy exuberance and symphonic drive.

ΙΙ.Adagio - andante con moto

Often considered the emotional heart of the concerto, the slow movement unfolds with a muted trumpet and solo oboe sharing a long, expressive blues-style melody. The jazz influence is unmistakable, evoking the atmosphere of late-night urban introspection.

The piano’s playful entrance introduces a gentle acceleration and an elegant dialogue between soloist, woodwinds, and strings. A romantic string theme leads to an orchestral climax before the music gradually fades into a soft, atmospheric conclusion.

ΙΙΙ. Allegro agitato

Gershwin described the finale as a “rhythmic orgy.” It launches with a driving orchestral tattoo of repeated notes, propelling the movement forward with relentless energy. Rapid rhythmic changes create a sense of breathless momentum.

The sharp, percussive sound of the xylophone and a dramatic stroke of the gong bring the music to a sudden halt before the movement resumes. Themes from the previous movements reappear, reinforcing the concerto’s unity and culminating in a dazzling, exuberant conclusion.