An American in Paris

Even though Gershwin never returned to Paris after this three-month trip, the time he spent there allowed him to write the majority of one of his most famous works, An American in Paris. When listening to the piece, one will most likely hear distinct sections. However, if a listener pays close attention, An American in Paris becomes more than a few sections; it becomes a whirlwind story about an American and his journey through Paris. The original program notes, written by Deems Taylor, depict the journey of the American and the sights of Paris that inspired Gershwin while composing An American in Paris (Ewen 165).

Play List

American in Paris (Whole Piece)   Opening Walk   La Maxixe   Grand Palace   Blues   Charleston   

Traffic, Champs Elysees, French Cafe

The opening theme of the piece portrays the traveler “swinging down the Champs Élysées on a mild Sunday morning… [where] French taxicabs seem to amuse him” (Ewen 165). During Gershwin’s stay in Paris, he was able to take in the sights and sounds of walking through Paris. The Champs Élysées of all places was both exciting and tranquil with a line of trees on either side of the street and people walking in every direction (Abercrombie 217). Gershwin also incorporated the sounds of French traffic in the opening selection. In Walter Rimler’s biography George Gershwin: an intimate portrait, he writes about Gershwin and his friend Mabel, who helped him acquire four French taxicab horns that honked certain pitches. Gershwin is later quoted as saying, “‘In my opening movement of An American in Paris, I’d like to get the traffic sounds of the Place de la Concorde during rush hour’” (Rimler 30). The honks of the taxicab horns in the first minute of the piece are evident and comical. Gershwin captures the essence of Paris right from the start; the bounce in the step and honks of car horns here and there are trademarks of Paris in the late 1920s. As the traveler continues to stroll down the Champs Élysées, he walks past an open French café and hears a melody from La Maxixe, a Brazilian style of music combining polka, waltz, and lundu, which was popular in France at the time (Beraldo 257). The listener hears a few seconds of trombones playing the Latin tune before the piece goes back into the walking melody as the traveler continues past the café. The piece, thus far, is filled with the scenery and normalness of Paris (Ewen 165-66).

Grand Palais from different views

All of the sudden, the mood changes as the music slows down and the woodwinds take over with a soft and delicate version of the main melody. It is believed that during this segment of the piece the traveler passes by one of Paris’s most recognizable attractions, the Grand Palais (Ewen 166). It is not a surprise that the traveler would slow down to take in the view of this awe-inspiring building. With the largest glass roof in Europe and 775,000 square feet of building space, it would be nearly impossible to walk right past this building (Grand Palais). However, the traveler does not completely stop because shortly after this slow and melodic section begins, the piece takes off with the first walking theme.

Eiffel Tower and book stalls

The mood of the piece changes again when Gershwin writes a slower, bluesy section that reveals the traveler feeling lost and not at home. Taylor’s program notes read, “The cool, blue Paris sky, the distant upward sweep of the Eiffel Tower, the bookstalls of the quay, the pattern of the horsechestnut leaves on the white, sunflecked street—what avails all this alien beauty?” (qtd. in Ewen 167). While Paris is full of excitement and wonder, nostalgia can always overcome a traveler. However, this mood does not last long. The lone traveler soon comes across a friendly face, another American. This segment of the piece embodies characteristics of the Charleston. The traveler is cheerful and excited about his time in Paris once again (Ewen 168). Although Gershwin did not travel to Paris until after many other famous American artists and writers, its popularity as a travel destination was unchanging. It is likely that Gershwin found himself in the company of many other Americans while he stayed in Paris and his love of incorporating sounds native to his home shows through in this segment of the piece. The style portrays nothing more than a pure American sound. Despite the enjoyment that came from incorporating American sounds, Gershwin felt that it would be best to end the piece the way it started; the walking theme with an optimistic view of what the night in Paris would bring him (Ewen168).

The influence that Paris had on this piece of music is apparent and appears frequently. Gershwin captures the essence of France in his sixteen-minute work of art. The traveler experiences the livelihood of Paris streets, the constant taxicab horns honking, and the Latin music still used by some small cafés. While these are all positive interactions with France, Gershwin is also able to expose the traveler feeling small and vulnerable under the soaring Eiffel Tower and amongst unfamiliar people. However, critics of this piece do not always agree.