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It also had a long run in London in , produced by George Grossmith, Jr. Stepping Stones , with Caldwell was a success, and in the Princess Theatre team of Bolton, Wodehouse and Kern reunited to write Sitting Pretty , but it did not recapture the popularity of the earlier collaborations.

As a young man, Kern had been an easy companion with great charm and humor, but he became less outgoing in his middle years, sometimes difficult to work with: With Hammerstein, however, he remained on close terms for the rest of his life.

The story, dealing with racism, marital strife and alcoholism, was unheard of in the escapist world of musical comedy. Despite his doubts, Ziegfeld spared no expense in staging the piece to give it its full epic grandeur.

According to the theatre historian John Kenrick: He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office.

While most Kern musicals have largely been forgotten, except for their songs, Show Boat remains well-remembered and frequently seen.

It is a staple of stock productions and has been revived numerous times on Broadway and in London. A revival integrated choreography into the show, in the manner of a Rodgers and Hammerstein production, as did the Harold Prince — Susan Stroman revival, which was nominated for ten Tony Awards , winning five, including best revival.

He never orchestrated his own scores, leaving that to musical assistants, principally Frank Saddler until and Russell Bennett from Opening just before the stock market crash, it received rave reviews, but the elaborate, old-fashioned piece was a step back from the innovations in Show Boat , or even the Princess Theatre shows.

In Kern made his first trip to Hollywood to supervise the film version of Sally , one of the first "all-talking" Technicolor films. The following year, he was there a second time to work on Men of the Sky , released in without his songs, and a film version of Sunny.

It ran for performances, a remarkable success for the Depression years, and transferred to London the following year.

The musical, depicting horse-racing, the circus, and class distinctions, was a failure, running for only two months. In , when musical films had become popular once again, thanks to Busby Berkeley , [43] Kern returned to Hollywood, where he composed the scores to a dozen more films, although he also continued working on Broadway productions.

He settled permanently in Hollywood in With Hammerstein, he wrote songs for the film versions of his recent Broadway shows Music in the Air , which starred Gloria Swanson in a rare singing role, and Sweet Adeline This was given a remake called Lovely to Look At.

The Oxford Companion to the American Musical calls Swing Time "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals" and says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb.

Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the s. Kern set it, the only time he set a pre-written lyric, and his only hit song not written as part of a musical.

In his last Hollywood musicals, Kern worked with several new and distinguished partners. With Johnny Mercer for You Were Never Lovelier , he contributed "a set of memorable songs to entertain audiences until the plot came to its inevitable conclusion".

Harburg , and the hit ballad " Long Ago and Far Away ". Kern composed his last film score, Centennial Summer in which "the songs were as resplendent as the story and characters were mediocre.

Oscar Hammerstein, Leo Robin , and E. Kern and his wife, Eva, often vacationed on their yacht Show Boat. He collected rare books and enjoyed betting on horses.

In the fall of , Kern returned to New York City to oversee auditions for a new revival of Show Boat , and began to work on the score for what would become the musical Annie Get Your Gun , to be produced by Rodgers and Hammerstein.

On November 5, , at 60 years of age, he suffered a cerebral hemorrhage while walking at the corner of Park Avenue and 57th Street. Receiving no response, Hammerstein realized Kern had died.

Jerome Kern was nominated eight times for an Academy Award, and won twice. Seven nominations were for Best Original Song ; these included a posthumous nomination in each of and One nomination was in for Best Original Music Score.

Kern was not eligible for any Tony Awards, which were not created until Elisabeth Welsh was nominated for a Tony Award for her performance in Jerome Kern Goes to Hollywood in , and Show Boat received Tony nominations in both and , winning for best revival in among numerous other awards and nominations , and won the Laurence Olivier Award for best revival in In , Big Deal was nominated for the Tony for best musical, among other awards, and Bob Fosse won as best choreographer.

In , Never Gonna Dance received two Tony nominations. Kern was inducted into the Songwriters Hall of Fame posthumously, in In , the U. All shows listed are musical comedies for which Kern was the sole composer unless otherwise specified.

During his first phase of work — , Kern wrote songs for 22 Broadway productions, including songs interpolated into British musicals or featured in revues sometimes writing lyrics as well as music , and he occasionally co-wrote musicals with one or two other composers.

During visits to London beginning in , he also composed songs that were first performed in several London shows. The following are some of the most notable such shows from this period: His regular lyricist collaborators for his more than 30 shows during this period were Bolton, Wodehouse, Caldwell, Harry B.

Smith and Howard Dietz. Some of his most notable shows during this very productive period were as follows:. During the last phase of his theatrical composing career, Kern continued to work with his previous collaborators but also met Oscar Hammerstein II and Otto Harbach, with whom Kern wrote his most lasting, memorable, and well-known works.

The most successful of these are as follows:. From Wikipedia, the free encyclopedia. List of Jerome Kern songs.

Kern, Jerome David ". The New York Times , May 9, , p. History of The Musical Stage Oxford University Press U. Jerome Kern", The Times , February 17, , p.

Getting to Know Him: Academy Award for Best Original Song. Herb Magidson " Lullaby of Broadway " Music: Dorothy Fields " Sweet Leilani " Music and lyrics: Harry Owens " Thanks for the Memory " Music: Leo Robin " Over the Rainbow " Music: Mack Gordon " Swinging on a Star " Music: Jimmy Van Heusen Lyrics: Ray Gilbert " Buttons and Bows " Music: Frank Loesser " Mona Lisa " Music and lyrics: Die Merkur Spielbank Magdeburg Spielautomaten: Merkur Spielbank Magdeburg Bildquelle: Ein durchdachtes und hochmodernes Einrichtungskonzept ist man von Merkur gewohnt und dieses ist tipico freebet im Casino Magdeburg zu bestaunen.

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Between and , he continued his musical training under private tutors in Heidelberg , Germany, returning to New York via London.

For a time, Kern worked as a rehearsal pianist in Broadway theatres and as a song-plugger for Tin Pan Alley music publishers. While in London, he secured a contract from the American impresario Charles Frohman to provide songs for interpolation in Broadway versions of London shows.

Wix of Wickham , for which he wrote most of the songs. Wodehouse and making valuable contacts, including George Grossmith Jr. He wooed her, and they were married at the Anglican church of St.

The couple then lived at the Swan when Kern was in England. Another score for the silent movies, Jubilo , followed in The libretto was by Rida Johnson Young.

It opened in New York and went on to become a hit in London. He was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes.

The most notable of his scores were those for a series of shows written for the Princess Theatre , a small seat house built by Ray Comstock.

Theatrical agent Elisabeth Marbury asked Kern and librettist Guy Bolton to create a series of intimate and low-budget, yet smart, musicals.

The "Princess Theatre shows" were unique on Broadway not only for their small size, but their clever, coherent plots, integrated scores and naturalistic acting, which presented "a sharp contrast to the large-scale Ruritanian operettas then in vogue" [3] or the star-studded revues and extravaganzas of producers like Florenz Ziegfeld.

Earlier musical comedy had often been thinly plotted, gaudy pieces, marked by the insertion of songs into their scores with little regard to the plot.

The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters.

Popple of Ippleton , called Nobody Home Wodehouse joined the Princess team in , adding his skill as a lyricist to the succeeding shows.

The second played elsewhere during the long run of Oh Boy! This is the trio of musical fame, Bolton and Wodehouse and Kern.

Better than anyone else you can name Bolton and Wodehouse and Kern. Well, Bolton and Wodehouse and Kern have done it again. Every time these three gather together, the Princess Theatre is sold out for months in advance.

You can get a seat for Oh, Lady! If you ask me, I will look you fearlessly in the eye and tell you in low, throbbing tones that it has it over any other musical comedy in town.

But then Bolton and Wodehouse and Kern are my favorite indoor sport. I like the way they go about a musical comedy. I like the way the action slides casually into the songs.

I like the deft rhyming of the song that is always sung in the last act by two comedians and a comedienne. And all these things are even more so in Oh, Lady!

Kern and Wodehouse disagreed over money, and the composer decided to move on to other projects. The rest of the show was composed by Louis Hirsch , and ran for performances: The s were an extremely productive period in American musical theatre, and Kern created at least one show every year for the entire decade.

His first show of was The Night Boat , with book and lyrics by Anne Caldwell , which ran for more than performances in New York and for three seasons on tour.

This show, staged by Florenz Ziegfeld, ran for performances, one of the longest runs of any Broadway show in the decade, and popularized the song " Look for the Silver Lining " which had been written for an earlier show , performed by the rising star Marilyn Miller.

It also had a long run in London in , produced by George Grossmith, Jr. Stepping Stones , with Caldwell was a success, and in the Princess Theatre team of Bolton, Wodehouse and Kern reunited to write Sitting Pretty , but it did not recapture the popularity of the earlier collaborations.

As a young man, Kern had been an easy companion with great charm and humor, but he became less outgoing in his middle years, sometimes difficult to work with: With Hammerstein, however, he remained on close terms for the rest of his life.

The story, dealing with racism, marital strife and alcoholism, was unheard of in the escapist world of musical comedy.

Despite his doubts, Ziegfeld spared no expense in staging the piece to give it its full epic grandeur. According to the theatre historian John Kenrick: He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office.

While most Kern musicals have largely been forgotten, except for their songs, Show Boat remains well-remembered and frequently seen.

It is a staple of stock productions and has been revived numerous times on Broadway and in London. A revival integrated choreography into the show, in the manner of a Rodgers and Hammerstein production, as did the Harold Prince — Susan Stroman revival, which was nominated for ten Tony Awards , winning five, including best revival.

He never orchestrated his own scores, leaving that to musical assistants, principally Frank Saddler until and Russell Bennett from Opening just before the stock market crash, it received rave reviews, but the elaborate, old-fashioned piece was a step back from the innovations in Show Boat , or even the Princess Theatre shows.

In Kern made his first trip to Hollywood to supervise the film version of Sally , one of the first "all-talking" Technicolor films.

The following year, he was there a second time to work on Men of the Sky , released in without his songs, and a film version of Sunny. It ran for performances, a remarkable success for the Depression years, and transferred to London the following year.

The musical, depicting horse-racing, the circus, and class distinctions, was a failure, running for only two months. In , when musical films had become popular once again, thanks to Busby Berkeley , [43] Kern returned to Hollywood, where he composed the scores to a dozen more films, although he also continued working on Broadway productions.

He settled permanently in Hollywood in With Hammerstein, he wrote songs for the film versions of his recent Broadway shows Music in the Air , which starred Gloria Swanson in a rare singing role, and Sweet Adeline This was given a remake called Lovely to Look At.

The Oxford Companion to the American Musical calls Swing Time "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals" and says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb.

Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the s.

Kern set it, the only time he set a pre-written lyric, and his only hit song not written as part of a musical. In his last Hollywood musicals, Kern worked with several new and distinguished partners.

With Johnny Mercer for You Were Never Lovelier , he contributed "a set of memorable songs to entertain audiences until the plot came to its inevitable conclusion".

Harburg , and the hit ballad " Long Ago and Far Away ". Kern composed his last film score, Centennial Summer in which "the songs were as resplendent as the story and characters were mediocre.

Oscar Hammerstein, Leo Robin , and E. Kern and his wife, Eva, often vacationed on their yacht Show Boat. He collected rare books and enjoyed betting on horses.

In the fall of , Kern returned to New York City to oversee auditions for a new revival of Show Boat , and began to work on the score for what would become the musical Annie Get Your Gun , to be produced by Rodgers and Hammerstein.

On November 5, , at 60 years of age, he suffered a cerebral hemorrhage while walking at the corner of Park Avenue and 57th Street. Receiving no response, Hammerstein realized Kern had died.

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