Excerpts from Passport to Paris
2013; American Academy of Arts and Sciences; Volume: 142; Issue: 4 Linguagem: Inglês
10.1162/daed_a_00247
ISSN1548-6192
Autores Tópico(s)Musicology and Musical Analysis
ResumoEditor’s Note: Russian-born, naturalized American Vernon Duke (1903–1969) is best remembered for popular songs such as “April in Paris” (a sort of theme song and big instrumental hit for the Count Basie “Second Testament” band), “I Can’t Get Start ed,” and “Autumn in New York.” But he might not have been happy that his legacy turned out this way, for he was also a proli1⁄2c composer of “serious” or “classical” music. Half of who Duke was as a musician never made the impact he hoped for; and the half that did reach the public was not always recognizable as a Duke creation. Those Duke gems of the Great American Songbook and of the repertoire of a generation of American jazz musicians (an irony as Duke never much liked “real” jazz) are often attributed to some other songwriter. Most casual listeners assume that these songs were composed by Harry Warren, Irving Ber lin, or Duke’s good friend, George Gershwin. Hipper listeners might mention Zelda Fitzgerald’s favorite composer, Vincent Youmans (of “Tea for Two” fame), or Harold Arlen (“Blues in the Night” and the songs from the 1939 1⁄2lm The Wizard of Oz), or Burton Lane (“Old Devil Moon,” “How are Things in Glocca Mora,” and “On a Clear Day”). But as his witty and insightful autobiography, Passport to Paris (1955), makes clear, Duke was a hard working, ambitious composer not initially interested in writing popular music. He may never have pursued that course had he not been so enamored of Gershwin, or had there been greater commercial in terest in his “serious” music. Yet there was some-
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