Orchestration
Gershwin had agreed that Ferde Grofé, Whiteman's pianist and chief arranger, was the key figure in enabling the piece to be successful, and critics have praised the orchestral color. Grofé confirmed in 1938 that Gershwin did not have sufficient knowledge of orchestration in 1924. After the premiere, Grofé took the score and made new orchestrations in 1926 and 1942, each time for larger orchestras. Up until 1976, when Michael Tilson Thomas recorded the original jazz band version for the very first time, the 1942 version was the arrangement usually performed and recorded.
The 1924 orchestration for Whiteman's band of 24 musicians (plus violins) calls for the following orchestra: woodwinds (3 players): flute, oboe, clarinet in E-flat, clarinet in B-flat, alto clarinet in E-flat, bass clarinet in B-flat, heckelphone, sopranino saxophone in E-flat, soprano saxophone in B-flat, alto saxophone in E-flat, tenor saxophone in B-flat, baritone saxophone in E-flat; brass: 2 horns, 2 trumpets, 2 flugelhorns, euphonium, 3 trombones, tuba; percussion: drums, timpani, trap set; keyboards: 2 pianos, celesta, accordion; strings: banjo, violins and string basses. Many musicians, especially the reeds, played two or more instruments; the reed "doublings" were especially calculated to take advantage of the full panoply of instruments available in that section of Whiteman's band. Indeed, Grofé's familiarity with the Whiteman band's strengths is a key factor in the scoring. This original version, with its unique instrumental requirements, had lain dormant until its revival in reconstructions beginning in the mid-1980s, owing to the popularity and serviceability of the later scorings, described below.
The 1926 orchestration, rarely heard today, is an adaptation of the original for a "pit" orchestra, which includes a single flute, oboe and bassoon, two horns, two trumpets and one trombone, as well as the same percussion and strings complement as the later 1942 version.
The 1942 orchestration for full symphony orchestra is scored for solo piano and the following orchestra: woodwinds: 2 flutes, 2 oboes, 2 clarinets in B-flat and A, bass clarinet, 2 bassoons, 2 alto saxophones in E-flat, tenor saxophone in B-flat; brass: 3 horns in F, 3 trumpets in B-flat, 3 trombones, tuba; percussion: timpani, crash cymbal, snare drum, bass drum, gong, triangle, Glockenspiel and cymbals; strings: banjo, first and second violins, violas, violoncellos and double basses.
The prominence of the saxophones in the later orchestrations is somewhat reduced, and the banjo part can be dispensed with, as its mainly rhythmic contribution is provided by the inner strings.
Gershwin also made versions of the piece for piano as well as two pianos.
Gershwin's intent to eventually do an orchestration of his own is documented in 1936-37 correspondence from publisher Harms ("reissuance of the The Rhapsody in Blue re-scored by yourself for large symphony orchestra").
Read more about this topic: Rhapsody In Blue, Music Analysis