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Music Featured in Bessie

Prologue

WARNER THEATRE, ATLANTIC CITY

  • Edvard Grieg, Piano Concerto in A Minor

  • George Gershwin, “Summertime” (Arr. for flute)

Chapter One

OLIVE OYL

  • Johann Sebastian Bach, The Well-Tempered Clavier

Chapter Two

TAR BEACH

  • Ludwig van Beethoven, “Fur Elise”

  • Johann Sebastian Bach, Minuet in G Major

  • Eric Satie, Gymnopedie No. 1

  • Wolfgang Amadeus Mozart, Don Giovanni, K. 127: “Deh! Vieni Alla Finestra”

  • Wolfgang Amadeus Mozart, Die Zauberflote, “Der Vogelfanger Bin Ich Ja”

Chapter Three

ESCAPE THROUGH MUSIC

  • Ludwig van Beethoven, “Fur Elise”

  • Johann Sebastian Bach, Minuet in D Minor

  • Wolfgang Amadeus Mozart, Piano Sonata No. 11 in A Major, Alla Turca Third movement

  • Frederic Chopin, Prelude Op. 28 No. 20 in C Minor

  • Frederic Chopin, Military Polonaise

  • Wolfgang Amadeus Mozart, Concerto No. 23 in A Major: II. Adagio

  • Wolfgang Amadeus Mozart, The Marriage of Figaro

Chapter Four

A SPECIAL HIGH SCHOOL 

  • Frederic Chopin, Military Polonaise

Chapter Five

SOPHOMORE YEAR 

  • George Gershwin, Piano Concerto in F Major (I. Allegro; II. Adagio; III. Allegro agitato)

  • George Gershwin, “Summertime” (Arr. for flute)

  • Ludwig van Beethoven, Piano Sonata No. 8 in C Minor, Op 13: Pathetique

  • George Gershwin, Rhapsody in Blue

Chapter Six

A GIRL CAN DO; A GIRL CAN BE

  • Wolfgang Amadeus Mozart, Quartet in F Major for Oboe, Violin, Viola, and Cello

  • Edvard Grieg, Piano Concerto in A Minor

  • Ludwig van Beethoven, Symphony No. 5 in C Minor, Op. 67: I. Allegro

  • Franz Schubert, Symphony No. 8 in B Minor, “Unfinished” Symphony

Chapter Seven

THE WAR BEGINS; HUNTER COLLEGE AND THE 68 CLUB

  • Edvard Grieg, Piano Concerto in A Minor

  • George Gershwin, Piano Concerto in F; An American in Paris; "Summertime"

Chapter Eight

SUMMER CAMP AND WAVES 

  • Harold Arlen and Ted Koehler, “Stormy Weather”

  • Kansas Joe McCoy, “Why Don’t You Do Right?”

  • June Allyson, Victoria Schools, Nancy Walker, “The Three B’s”

  • Glenn Miller, "Chattanooga Choo Choo;" "A String of Pearls"

  • Joseph Copeland Garland: “In The Mood”

 

Chapter Ten

MISS NEW YORK CITY

  • Edvard Grieg, Piano Concerto in A Minor

  • George Gershwin, "Summertime" (Arr. for flute)

Chapter Eleven

MEDIA WHIRLWIND; PANIC SETS IN

  • Frederick Chopin, Fantaisie-Impromptu

Chapter Fourteen

OPENING NIGHT, TALENT COMPETITION 

  • Otto Harbach and Oscar Hammerstein, “Indian Love Call”

  • Dorothy Fields and Jimmy McHugh, “I’m in the Mood for Love”

  • Channing Pollock (English lyrics), “My Man”

  • Edvard Grieg, Piano Concerto in A Minor

  • George Gershwin, “Summertime” (Arr. for flute)

Chapter Fifteen

EVENING GOWN AND SWIMSUIT COMPETITION

  • Hank Fort and Herb Leighton, “I Didn’t Know the Gun was Loaded”

  • Fats Waller and Harry Brooks, "Ain’t Misbehavin’"

Chapter Sixteen

THE FINAL DAY!

  • Francis Scott Key, “The Star-Spangled Banner”

  • Debussy, Clair de lune

  • Buddy Kaye and Ted Mossman, “‘Till the End of Time”

Chapter Seventeen

THE TOUR BEGINS WITH VAUDEVILLE

  • Manuel de Falla, “The Ritual Fire Dance”

Chapter Eighteen

VICTORY BONDS AND VETERANS

  • Debussy, Clair de lune

  • Albert Ellmenreich, “Spinning Song”

Chapter Nineteen

TRAVELING THE SOUTH

  • Debussy, Clair de lune

Chapter Twenty-One

CARNEGIE HALL

  • “Full Moon and Empty Arms” (arranged from the third movement of Rachmaninoff’s Piano Concerto No. 2)

  • Frederic Chopin, Military Polonaise

  • Frederick Chopin: Fantaisie-Impromptu

  • Rex Stewart, "The Little Goose;" "Jug Blues;" "Boy Meets Horn"

  • Alfonso D'Artega, "american Panorama"

  • George Gershwin, Fantasia on Themes, "Summertime"

NOTE: Bess Meyerson performed "Summertime" on the flute, along with her Greig Piano Concerto, in both the Miss New York City and Miss America talent competitions. This piece is an aria that was composed in 1934 by George Gershwin for the 1935 opera, Porgy and Bess. It soon became popular and much recorded. Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of Blacks in the southeast United States from the early twentieth century. This connects to Bessie’s later work against racism.

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