If not, it came into the public domain in 1993 in the life+50 countries (2013 in the life+70 countries). If Frank Campbell-Watson edited the 1942 edition, it will be in the public domain in 2031 in the life+50 countries. from 1942 if there is no editor, and from the death date of the editor if there is one. In this case, since Gershwin died in 1937, and this is a posthumous publication, the 50 years will run from date of publication, i.e.

In the country where I live, copyright will go by a death date where there is one (it would have to be a human being, not an entity or corporation), but from date of publication in the case of posthumous publications with no editor. But then the copyright protection cannot be perpetual. If anyone has access to this score - the 1942 one, not the 1954 one - I would appreciate it if they could look to see if there really is an editor's name there.Īs to Coulonnus' question, yes a publisher can be an 'editor' (or hire out the editing as 'work for hire'). Since none of the libraries in the country where I live have this edition, I can't do that. On the surface of it, there is an outside chance that someone put Campbell-Watson's name on these entries, making an assumption from a later publication (hence the square brackets), but one would have to actually get a physical look at the score to see. He was obliged to bring to this formidable structure a musical idiom hitherto never attempted – and he succeeded on all accounts resulting in a work which today, after repeated hearings, has lost none of its greatness, freshness or brilliance.OCLC 659261594 has a publication date of 1954, but it looks like the other two are actually from 1942, though both have the editor's name in square brackets, which usually means it is interpolated information. He was confronted with the problems of symphonic orchestration and instrumental balance per se and with the solo piano. Gershwin, for the first time in his life, came to grips with a severe musical form, a form known to the masters and assiduously avoided by many of them. In the opinion of this chronicler, it is his greatest work. It was a supreme test, but the Concerto in F resulted and was performed for the first time with Gershwin as a soloist under Damrosch with the New York Symphony Orchestra at Carnegie Hall December 3, 1925. Following Rhapsody in Blue and its instantaneous success in February 1924, Walter Damrosch, conductor of the New York Symphony Society, commissioned Gershwin to write a true Concerto for piano and orchestra. George Gershwin Concerto in F Major for Piano & Orchestra (1925) One hears over and over again how, while Gershwin may have been a genius, he did not know how to compose long works, that there are structural weaknesses, and that much of what he does is slop work to get to his next big theme.

Gershwin piano concerto in f imslp