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Why tone matters more than speed, why reading Goethe matters as much as practising octaves, and how a single insight can transform a performance. Italian pianist and scholar Andrea Bonatta has spent decades exploring the contradictions of Franz Liszt, from performer to man of faith, virtuoso to poet. Here, in conversation with Piano Street at Liszt Utrecht 2026, he shares his vision. Read more
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Topic: Help with Gershwin / Jewish Heritage question  (Read 3405 times)

Offline nmitchell076

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Help with Gershwin / Jewish Heritage question
on: March 16, 2010, 02:07:58 AM
Okay, so I am playing the Concerto in F by Gershwin.  Since this is my first large concert piece, and it is one that I have until next fall to learn, I'm diving into the research pile on this one.  In the book, "George Gershwin: His Life and Work," there is a passage which reads "Lazare Saminsky... found in the piano concerto (presumably the opening solo theme) 'something which might adorn the mystic dreams of the young Talmudist-student from the Dibbuk-legend.'"

Would any Jewish scholars like to fill me in on what specific Dybbuk (since that's what I assume "Dibbuk" is a misspelling of) legend is being referred to here?  I always thought Dybbuks were just like ghosts in our modern culture (IE, part of the folklore, but no overarching defining legend regarding them).  Am I wrong? Is there a specific legend being referred to in this passage? Or am I reading it all wrong?

I appreciate any advice you can give on this subject.
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Pieces:
Beethoven - Sonata No. 17 in D minor, Op. 31 No. 2
Chopin - Nocturne in Bb minor Op. 9 No. 1
Debussy - "La Danse De Puck"
Somers - Sonnet No. 3, "Primeval"
Gershwin - Concerto in F
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