Jepoy Mercado 90 episodes, Melissa Mendez Adora Santos 90 episodes, Lance Serrano Alex 90 episodes, Eugene Runas Tope 90 episodes, Luz Valdez Rose 89 episodes, Shyr Valdez Yaya Osang 89 episodes, Maricris Garcia Monique 84 episodes, Camille Torres Eunice 84 episodes, Cogie Domingo Edit Storyline This is a story of a wifes unwavering love for her husband who is suffering from early-onset Alzheimers disease.
Edit Details Official Sites: Add the first question. Audible Download Audio Books. TJ Chavez 90 episodes, Joanna Mercado 90 episodes, Irene Montenegro 90 episodes, Buddy Chavez 90 episodes, Cielo 90 episodes, Estoy Mercado 90 episodes, Remy Mercado 90 episodes, Paolo Asistio 90 episodes, Cess Catalino 90 episodes, Jepoy Mercado 90 episodes, Adora Santos 90 episodes, Alex 90 episodes, Tope 90 episodes, Rose 89 episodes, Yaya Osang 89 episodes, Monique 84 episodes, Eunice 84 episodes, Ian 39 episodes, What they forgot to do was get rid of the "scherzando" on the sheet music -- unless George didn't want to.
In fact, it survives even today on some of the digital sheet music sold on the web. Michael Feinstein connects the lyric of "Someone to Watch Over Me" to Ira Gershwin's personal experience despite the fact that "Ira emphatically denied that any song [he wrote] bore any resemblance to his real life. Feinstein sums up what makes a great theater love song by enumerating the crucial elements present in "Someone To Watch Over Me": Deena Rosenberg Fascinating Rhythm: University of Michigan Press, , soft cover Ed.
Philip Furia Ira Gershwin: Ted Gioia The Jazz Standards: A Guide to the Repertoire New York: Both Deena Rosenberg and Michael Feinstein have stated more or less flat out that the Gershwin's never wrote a song for a show without a dramatic context in mind.
The Twenties was a period in the history of American musical theater when musical shows were transitioning away from the revue format into show scores featuring songs integrated into a plot. Nothing, of course is ever absolute, and "Someone To Watch Over Me," though written during the aforesaid period by songwriters who were on the cutting edge of modernity in musical theater, was nevertheless, not written with an exact dramatic context in mind.
George Gershwin composed the music knowing only the show's general structure, a structure that would include, like all shows of the time, up-tempo dance numbers; therefore, he wrote a lively piece of music and labeled the tempo "scherzando" lively and playful. He believed he was writing a rhythm number that would get plugged into the show to accompany an animated dance. Ira knew this also and believed he would write a lyric to suit such a number but couldn't do it until "we knew the exact spot where [the piece] would fit" Furia , p.
However, when as described above they discovered that the melody was actually more suited to becoming a ballad, plans had to change. The song would go into a slot where a ballad, not an ensemble dance number, was needed. Moreover, when, after the lyric had been written, the number was moved from one act and scene to another, Ira, was faced with the fact that his lyric would now somehow have to fit a different dramatic context. Philip Furia explores the change in positioning of "Someone To Watch Over Me" from Act 1 to Act 2 and how that effected the integration of the song into the story.
The book-writers Wodehouse and Bolton, required only one thing from the songwriters and that was for them to come up with a "lady-in-waiting" song, a song about a lady waiting for her love to come along, that would be long enough to cover a scene change. They were apparently not that concerned with integration.
Ira, however, Furia notes, needed more integration as well as inspiration than this rather mechanical requirement provided and found it in the complexity of the title character, Lady Kay. She was not the generic flapper of earlier Gershwin shows but a multi-faceted figure, one who came from wealth but was streetwise, one whose personas in the show included an "urbanely flippant" society lady, a housemaid with a brash Cockney accent, and an innocent, vulnerable and naive young woman.
With the exception of Gertrude Lawrence, few musical comedy performers of the day could have played a character with such a variety of traits and personas. Ira wrote his lyric by that time knowing the song would be a ballad not a rhythm number with all that complexity as well as the action of the first scene of Act 1 in mind.
In that scene the lady is looking for a man she had rescued from revenue officers who thought him to be a bootlegger. She knows almost nothing about him, doesn't even remember what he looks like, but is young, romantic and desperately hoping to find him. In fact, he is not a bootlegger but, conveniently for the plot, an American playboy millionaire, owner of the mansion where the lady's brother, a down-and-out English duke turned bootlegger, has stashed his hooch. Ira's lyric is therefore vague in terms of describing the man 'the someone" of the lyric.
All she knows is that she wants him to "turn out to be [that] someone to watch over me," reinforcing the needy and innocent side of her character. When, however, the song is moved to Act 2, she has, as Furia notes, "already met, kissed and cavorted with her millionaire" rendering Ira's lyric less directly related to this new context.
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This was the penalty, according to Wayne Shirley quoted by Furia "for writing lyrics too closely connected to the plot of a show," in other words integrating the lyric too tightly. Furia says, the lyric succeeds anyway because "it retained its particularity from a character who was a combination of hard experience and innocent yearning" and even more so because Lawrence's performance was irresistible Furia, p. It could be added that the lyric is conveniently vague enough not to be glaringly out of context.
Although she now knows the fellow she wants, she is convinced their romance has little or no chance of success. Her loneliness has returned and so the sentiments expressed in the song still apply. Apparently, in , the bar of integration for keeping a song in was not as high as it would become in subsequent decades.
Her general state of mind was enough to bridge the gap between her specific situation and the lyric. George insured, according to Deena Rosenberg, that the gap would be filled by supplying "Miss Lawrence," as he called her, with the doll he had found. She sings "Someone To Watch Over Me" alone on stage with only the doll as a candidate to take care of her, thus intensifying the "wistful" quality that both he and Ira had discovered when early on George had inadvertently slowed down the tempo -- which turned out to be integration enough. This video and album contain the same track as Ella's original Gershwin Songbook version.
Someone to Watch Over Me () - IMDb
Typically lyricists try to write so that a lyric originally intended for a character in a show who is of one gender can be easily converted to a lyric that will fit a performer of the other gender should he or she wish to perform or record the song independently of the vehicle for which it was written.
Often this is quite simply a matter of changing a pronoun or two. Although he may not be the man some Girls think of as handsome, To my heart he'll carry the key. Although I may not be the man Some girls think of as handsome, To her heart I'll carry the key. Only one of the five male singers, Cheyenne Jackson, who performs "Someone to Watch Over Me" on this page, uses Ira's original lyrics text.
This may be because he wants to be authentic to that text, or, perhaps, because he wants to be authentic to himself as one who desires to be watched over by a man. Whether or not the latter is the case, that the recording was made in suggests being authentic to oneself is possible at that date in a way it wouldn't have been for earlier generations of performers who might have wanted to do the same.
It is also interesting to note that if in Jackson's rendition this is a song being sung by a man about a man, Jackson chooses not to change the word "girls" to "men," which would have made things entirely clear. That he doesn't, may leave things a bit ambiguous but doesn't rule out anything either. Ambiguity in art is not always, or perhaps even mostly, disadvantageous as it would be in, say, mathematics.
Click here to read Cafe Songbook lyrics policy. Loved the singing clip of Audra McDonald. Though I know about the Broadway star Gerturde Lawrence who you say sang it first, I would like to know just a bit more about Ms. Think the site is excellently set up. The sources of all quoted and paraphrased text are cited. Such content is used under the rules of fair use to further the educational objectives of CafeSongbook.
All such images are linked to the source from which they came i. Any other images that appear on CafeSongbook. Such permission will be acknowledged in this space on the page where the image is used. For further information on Cafe Songbook policies with regard to the above matters, see our "About Cafe Songbook " page link at top and bottom of every page. The year given is for when the studio track was originally laid down or when the live performance was given. The Amazon link above above is to a discography of albums eac of which includes a Lawrence version of "Someone to Watch Over Me.
The length of tis recording is 2;47, which can be sued to identify albums that include the version. Gershwin biographer Howard Pollack noting that no matter how effective later on stage performances of songs like "Someone To Watch Over Me". Please complete or pause one video before starting another. George Gershwin Plays George Gershwin. This is a two CD set consisting of recordings of George Gershwin on piano made during the 's and s. These recordings are not from piano rolls but are Gershwin himself at the piano; and, according to the liner notes, document "Gershwin's commercial recording career including all his commercial solo piano and piano with orchestra recordings.
She often performed "Someone to Watch Over Me" on their gigs and made the recording on video 2 , just below. The separate vinyl albums were, in fact, the first of the so-called songbook albums with a single singer focusing on a single composer most notably the Ella Fitzgerald Songbook series, which followed Wiley's: Hawkins is an early representative of the slow tempo, romantic school in jazz interpretations of "Someone To Watch Over Me.
Shaw recorded "Someone To Watch Over Me" early , a very good swing era orchestra recording; and late that could be described as sophisticated swing with a touch of bop in which Shaw was tipping his clarinet to the successors of swing. The album also contains ten bonus tracks of alternate takes from Will Friedwald comments that The Vocie album "is Sinatra's first done with the intent of creating a uniform sound throughout, in this case a kind of chamber music created by an eight piece ensemble or 'double quartet' with an emphasis on one of the violins as solo instrument and the guitar as the primary rhythm instrument.
Same track as on Best Of Columbia Years , shown first, above. Not the same track as on album but similar Please complete or pause one video before starting another. The slightly lesser known is the earlier recording for Decca originally appearing on the album Ella Sings Gershwin , recorded in New York City, September , and March , On this version, she is accompanied only by Ellis Larkins on piano.
She sings the verse on both. Chet Baker Sings Again. Track on video is very similar to the one on the compilation album shown above, but we are not certain if it is the same one.
Someone to Watch Over Me (song)
Sarah Vaughan Sings George Gershwin. Previously unreleased material is added to the CD version. All tracks have been digitally remastered using bit technology. Blossom Dearie accompanies herself on the piano and according to Amazon customer reviewer flyingductchman, "This is the most intimate album that Blossom recorded during her Verve years. The stand-out track on the recording is definitely 'Someone to Watch Over Me' which Blossom approaches as if she is writing the very words into her diary or whispering them into a prayer locket.
A live performance also from in Copenhagen has some of the same personnel: He notes that in his video, the piano Intro. My Name is Barbra. The album is a collection of songs and excerpts from motion pictures and stage musicals taken from the first Barbra Streisand television special broadcast on April 28, The album won her the Grammy for best female vocalist of that year. Exclusively for My Friends box set , Vol.
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Volume 4 of the box set, pictured just above, was Peterson's first full record of unaccompanied piano solos. The album Stardust , originally released in , is Nelson's first contribution to the crossover movement into The Songbook by artists who typically perform in other areas of American pop. Many have noted how he has managed to carry with him his country sound both in instrumentation and voice without violating the music he applies them to, which is a tribute both to him and to the songs.
This stands in contrast to Linda Ronstadt who leaves her previous genres behind and becomes, with her Nelson Riddle arrangements, a completely convincing, high quality Songbook performer. The edition of Stardust shown above contains the originally released songs plus bonus tracks. Arrangements and orchestra conducted by Nelson Riddle on Ronstadt's first crossover to "standards" album. The Melody at Night with You.
This is a Jarrett solo album of contemplative, romantic renderings of traditional American songs, standards in the Songbook sense , and one of his own compositions "Meditation". The track on the album above is a very similar rendition with piano accompaniment only. The album version is a shorter, studio performance. Similar track to one on album shown above -- Sting vocal with piano only accompaniment Please complete or pause one video before starting another. The Power of Two.