Ira Gershwin: The Art of the Lyricist

by Philip Furia

Book Overview

To the perennial question "which comes first, the music or the words?" Ira Gershwin always responded, "the contract." The jest reveals both Ira's consummate professionalism and the self-effacing wit with which he ducked the spotlight whenever possible. Yet the ingeniously inventive melodies George Gershwin composed for such classic songs as "Someone to Watch Over Me," "Embraceable You," "Fascinating Rhythm," "It Ain't Necessarily So," and "Love is...

• Format: Hardcover
• Language: English
• ISBN: 0195082990
• ISBN13: 9780195082999
• Release Date: January 1996
• Publisher: Oxford University Press, USA
• Length: 304 Pages
• Weight: 1.40 lbs.
• Dimensions: 1.1" x 6.5" x 9.5"

Customer Reviews

4 1/2* Ira: The Wordsmith

When "Girl Crazy," the musical that introduced such endurable songs as "I Got Rhythm," "Embraceable You," and "But Not for Me," opened in month, 1932, composer George presented lyricist Ira with a bracelet inscribed "George, the Music; Ira, the Words." The collaboration of the two brothers' collaboration produced some of the best standards and the starting point of much of the best jazz in years to come.This book tells the musical history of Ira, Nicknamed "the Jeweler" because of his meticulous fitting of words to music, or as he put it, the construction of a music/word mosaic, the sometimes under-appreciated Gershwin wrote the clever, ironic, and always intelligent word to Gershwin tunes as well as collaborations with (Harburg, Kern, Arlen, Weill, Wodehouse, Bolton, and Duke).As in his brilliant "Poets of Tin Pan Alley," Furia's masterfully dissects the lyricist's craft, explaining such techniques as pseudo rhymes, internal rhymes, alliteration and assonance, allusions and tone. He examines the importance of a song's "singability." Furia, as in `Poets' traces the history of the theatre song as a stand-alone number (a la Ziegfried Follies) to its height as an integral "character" that advances the show's plot (first accomplished in "Showboat" and "Oklahoma." Finally, he shows how Ira Gershwin's style (and often his skill) was different from other lyricists of the Golden Age.The problem is that there is a dearth of original research, especially about Ira's latter non-writing years. I wonder why the author did not interview Michael Feinstein, who befriended Gershwin in the latter year, and here receives a one paragraph cite on the next to the last page. Most of the references on the latter years come from two books alone. Furthermore, while not the life of the party like George, we don't get much of a clue as Ira's personality or personal life. Some original research into Gershwin's personal life and post-writing years would have added greatly to the book. Finally, his use of phrases such as "saying I love you in 32 bars" and "singability" is so repetitive that it becomes grating.Still, this is an excellent book for students of songwriting and Gershwin fans in particular. There are some excellent behind-the-scenes details about how songs are written (and sometimes ruined) and it's mostly an enjoyable read. For a better overview of the best lyricists of the era, I highly recommend his earlier "The Poets of Tin Pan Alley."

Philip Furia is the Master of Songwriter Biographies...

I've not felt strongly enough about a book or author to submit a review before, but as a songwriter myself, I can not praise Mr. Furia's books enough. He follows the development of the lyrist or songwriter as an artist first, before their celebrity, etc. He shows how their styles changed with time and experience. I have read two of his books. I'm starting a third, and I've bought copies for my friends. I will endeavor to read every songwriter book he produces. He lets you look inside the art of the artist, yet it still reads like a story. I'd give all of his books ten stars. Thank you Mr. Furia, for a wonderful read.

S'Wonderful, S'Marvelous!

A wonderful look at a most talented man. Finally someone writes about Ira rather than George. The book is informative, well written and charming. I highly recommend it. I loved every word!

An informative, readable spotlight on Ira Gershwin.

Ira Gershwin, often seen as the non-dazzler of the remarkable Gershwin brothers, was called "the jeweller" by his peers because of his meticulously crafted lyrics. And this duality of the famed songwriter makes Philip Furia's book especially intriguing. How Ira wrote the songs, how he saw himself, and the famed body of music he created is fascinating reading. But right here, let's just look at one aspect -- the close, loving relationship between the two brothers, Ira and George, the successful collaboration that produced a series of sparkling, sophisticated hit songs for Broadway and Hollywood all throughout the 1920's and 1930's. Ira was the older brother, shy and modest. He idolized the more dashing and outgoing George, and like many others, recognized his musical genius. Once they permanently joined professional forces in 1924, they were unbeatable, but that came after Ira's early career writing light verse and then song lyrics under the name, Arthur Francis. From the first Ira-George hit, "The Man I Love," they meshed perfectly, George's touching and intricate melody married to Ira's deceptively simple and straightforward lyric, "Someday he'll come along..." Everyone recognized the spark the two ignited in their songs. Tunes as unusual and catchy as, Fascinating Rhythm" demanded a rhyme scheme that would place accents in the most effective points. Even when George joined DuBose Heyward to write "Porgy and Bess," Ira had a role in polishing some lyrics, and writing the straightforward, colloquial lyrics for the character of Sportin' Life, such as, "It Ain't Necessarily So." Ira occasionally collaborated with other composers, like Vernon Duke and "Yip" Harburg. But author Furia points out that in a ten-year period, except for the "Porgy and Bess" music with Heyward, all of George Gershwin's songs were with Ira Gershwin lyrics. In their last years, their music seemed particularly closely mated. When "They Can't Take That Away From Me," was nominated for an Academy Award, losing to "Sweet Leilani," Ira was especially disappointed, feeling George should have given more input in how the song was presented in the film, Shall We Dance, because it was evident that their song was superior to the winner. "Love Is Here To Stay" was their last song together for The Goldwyn Follies of 1938. George died before the song was completed. Ira was left to grieve and finish the film. He was distraught. He felt responsible for not noticing his brother's illness until it was too late. In time, Ira's wife. Leonore and their friends, songwriters like Jerome Kern, Harold Arlen, and "Yip" Harburg, helped him accept the fact that he was not responsible for George's early death. In addition, Leonore convinced Ira that he was the remaining Gershwin, and it was up to him to continue the high standards the team had set. It wasn't easy. Ira was always the one who stepped back from the spotlight of his outgoing brother. Philip Furia places Ira Gershwin in the sp