Gershovitz Family

http://www.lasalle.edu/academ/fine_art/music/gersh/early.htm

George Gershwin (Jacob Gershowitz) was born in September 26,1898, in Brooklyn, New York to Russian Jewish parents (Morris/Moshe and Rose) of modest means. He lived most of his childhood and youth in New YorkÕs East Side. George did not like studying. In school, he failed to do his homework, misbehaved in class, and was involved in fighting. Music had little meaning to Gershwin as a youngster. His first memory of music was when he was six years old. Anton RubinsteinÕs Melody in F had made strong impression on him. However, the most significant of his musical adventures was in his tenth year. He was profoundly moved by DvorakÕs Humoresque played as school entertainment at P.S. 25 by a fellow student, who was an eight year old violin prodigy named Maxie Rosenzweig. In 1910 the Gershwins bought a piano. As soon as the piano was in place, George amazed his family by playing tunes he had already picked up on his friendÕs piano. George began his formal piano study with several neighborhood teachers. His last neighborhood teacher was Mr. Goldfarb. After six months with Goldfarb, he had advanced as far as the William Tell Overture. In 1912, Jack Miller, who played in the Beethoven Symphony, brought George to the studio of Charles Hambitzer, a composer/pianist whom he regarded highly. Hambitzer was impressed with GershwinÕs seriousness and offered to teach him for free. Hambitzer was the most important person in GeorgeÕs musical development. In 1912 at the High School of Commerce, George played in the school assembly. In the summer of 1913 he found a job as a pianist for $5.00 a week at the Concord Resort in the Catskill Mountains of New York. In 1913 he wrote his first song Since I Found You, which was never published. GershwinÕs first public appearance was on March 21, 1914, playing a tango of his own at a social given by the Finlety Club. GershwinÕs unpublished tango was listed on the program as a "Piano Solo." Since George was not interested in studying, in May, 1914 at the age of fifteen, he left school to work at RemickÕs, where he had the distinction of being the youngest pianist employed on Tin Pan Alley.

http://classicalmus.hispeed.com/gershwin/

George Gershwin, named Jacob Gershovitz at his birth on September 26, 1898, was the second of four children born to Morris and Rose Gershovitz, Russian immigrants who had married in America. George's brother Ira (older by two years) was expected to become the musician in the family, but George surprised his parents when he appropriated the piano his mother purchased for Ira when he was twelve, and George was given piano lessons as well as his brother. In 1912 he began studying piano with Charles Hambitzer who was undoubtedly Gershwin's strongest musical influence and who introduced him to the music of Chopin, Debussy, and Ravel, along with the early works of Arnold Schoenberg, and a broad spectrum of other classical piano literature. Hambitzer turned George over to Edward Kilenyi for additional lessons in theory and composition. Both Hambitzer and Kilenyi encouraged George to pursue musical experimentation. This is when Gershwin wrote his first ragtime songs within classical forms, entitled Since I Found You and Ragging the Traumerei. These were rough in style but demonstrated a merge between the two forms. Gershwin greatly admired the songs of Irving Berlin, and among his earliest musical heroes were Franz Liszt and the great pianists who were then appearing in New York, such as Josef Lhevinne, Josef Hoffmann, and composer-pianist Ferrucio Busoni.

But in 1914, Gershwin struck out on his own musically, dropping out of high school, and he turned to the practical musical world close to his home when he went to work for Jerome H. Remick & Co., a music publishing firm on Tin Pan Alley, for a salary of $15.00 per week, while he continued living with his parents and his brother Ira. Until March 1917, Gershwin worked for the Remick Company as a song plugger: a salesman who promoted the firmÕs songs by playing and singing them for performers. As a result of many hours each day spent at the keyboard, his playing improved greatly, and he cut his first piano rolls in 1915. By 1926, Gershwin had made more than 100 piano rolls, and he became a highly skilled vocal accompanist. He also began to compose songs and piano pieces of his own, but without any encouragement from his employers. So he eventually decided to move from Tin Pan Alley, with its emphasis on songs written to commercial formulas, to the Broadway musical stage, where men like Jerome Kern were applying a more highly developed musical artistry, writing musical scores for entire shows.

In July 1917, Gershwin began working as the rehearsal pianist for a Broadway show by Jerome Kern and Victor Herbert: Miss 1917. After the show opened in November at the Century Theater, Gershwin stayed on as the organizer of and accompanist for a series of popular concerts held there on Sunday evenings. His talent as a composer began to be noticed by influential people. Although he had previously published little, in early 1918 Max Dreyfus, the head of Harms Publishing Company, offered him a weekly salary for the rights to any songs he might compose in the future. Before the year was out, three Broadway shows carried songs by Gershwin. Soon afterwards, in collaboration with Arthur L. Jackson and Buddy De Sylva, Gershwin composed his first full Broadway score: La La Lucille, which opened on Broadway in May 1919. Before he had reached his 21st birthday, Gershwin was known, not only as an outstanding pianist, but he could also claim the composition of a Broadway show to his credit, several songs in print, and a steady income from a well-known publisher for his future works.

During the 1920s, Gershwin's fledgling career as a Broadway composer flourished. His popular song, Swanee, recorded in 1920 by the popular singer Al Jolson, was his first hit song, yielding him some $10,000 in composerÕs royalties in that year alone. He signed a contract with the producer George White, under which he composed the music for five annual Broadway reviews from 1920-1924. And under separate agreements with other producers, he composed the scores for three Broadway shows and two shows in London. Primrose, his second London show, produced in 1924, was a great success, and it was followed in the same year by Lady Be Good!, starring Fred and Adele Astaire. This was the first of his shows for which his brother Ira Gershwin wrote all the lyrics. The latter included the songs Fascinating Rhythm and Oh, lady, be good!, both of which became and remain today standards in the American song repertory.

One day in early January of 1924, Ira Gershwin noticed a small newspaper ad announcing that his brother George had agreed to write a "Jazz Concerto" to be performed by Paul Whiteman's Orchestra at New York's Aeolian Hall the following month. To his horror, Ira realized that George had not started working on the composition, and the work was already receiving attention from the press. The next day, George sat on a train on his way to Boston, and he began to listen to the steady rhythms of the train wheels and the movements of the cars. This helped him start his composition. He continued to write at an upright piano at home. Later, at a party, he was seated at a piano when suddenly his fingers moved into a broad, almost hymn-like melody that came mysteriously from somewhere inside him, the very theme for which he had been searching. The night of the concert arrived, and Gershwin was nervous because he felt that he might not have anything of lasting merit to offer the audience.

On February 12, 1924, Rhapsody in Blue was placed near the end of Whiteman's concert program. Gershwin appeared onstage, took his place at the piano and started. As the clarinet player let out the now famous, slowly ascending wail which begins the Rhapsody, the excitement in the audience could be sensed. Gershwin played on, improvising the notes he left out in haste during his previous weeks of composition. The band stayed with him. "Somewhere in the middle of the score I began crying," he recalled later. "When I came to myself, I was eleven pages along, and to this day I cannot tell you how I conducted that far." The audience rose to its feet and gave him a wild ovation. The Rhapsody had been billed as "An Experiment in Modern Music" in which Jazz was elevated by the "symphonic" arrangements in which WhitemanÕs band specialized. The audience included such notables as Jascha Heifitz, Fritz Kreisler, Leopold Stokowski, Serge Rachmaninov, and Igor Stravinsky. GershwinÕs performance of his own work won both the audienceÕs approval and the criticsÕ attention. Generally, music critics were at a loss as to where to place Gershwin's Classical music in the standard repertoire, some dismissing his work as banal and tiresome, but these negative voices were trumped by the fact that his music always found favor with the general public. Performed and recorded repeatedly, the work won renown for its composer, labelling Gershwin as the man who had brought Jazz into the concert hall.

To most casual observers, Rhapsody in Blue was viewed as a new departure for the young songwriter, but in reality, it was a new manifestation of Gershwin's continued involvement with Classical music genres. In 1915 he had begun to study harmony, counterpoint, orchestration, and musical form with Kilenyi, and these lessons continued at least until 1921. His first Classical piece, Lullaby for string quartet, written around 1919, was likely composed as a harmony exercise for Kilenyi. His second such work, a brief opera called Blue Monday, opened the second act of George WhiteÕs Scandals for 1922, but it was withdrawn after its first performance. Previously, on November 1, 1923, Gershwin performed in a recital at Aeolian Hall given by the Canadian mezzo-soprano, Eva Gauthier. This recital helped to set the stage for WhitemanÕs concert less than three months later. In a program that ranged from songs by Purcell and Bellini to works by Schoenberg and Bart—k, Gauthier included compositions by Gershwin, Kern, Irving Berlin and Walter Donaldson. Gershwin accompanied the singer in the latter song group. Therefore, Rhapsody in Blue stemmed from an aesthetic sensibility that never fully accepted a separation between popular and Classical genres, and Gershwin continued to create works in both musical spheres.

In 1925, as a result of his newly gained affluence from the artistic and financial success of Rhapsody in Blue, Gershwin moved his family to a townhouse in a fashionable neighborhood on New YorkÕs upper West Side. About the same time he began to develop a strong interest in the visual arts, collecting paintings, sculptures, and drawings and taking up painting himself. He also became known as a figure in New York theatrical and literary circles, often dominating parties with his piano playing. New patterns emerged in GershwinÕs compositions, as he continued to write scores for the musical theatre, though at a somewhat slower rate. He gave more and more attention to concert music, studying with a succession of teachers including Rubin Goldmark, Riegger, and Cowell. Much of the summer of 1925 was devoted to the composition of the Concerto in F for piano and orchestra, commissioned by Walter Damrosch and the New York Symphony Orchestra.

The (now famous) Preludes for Piano were first performed by the composer in December of 1926 as part of a recital in which Gershwin accompanied the contralto Marguerite dÕAlvarez. During most of 1928, Gershwin was occupied with the composition of the tone poem, An American in Paris, which he began to create during a trip to Europe from March to June of that year. Traveling with his family, Gershwin was welcomed as a musical celebrity, and he met many outstanding composers during this holiday, such as Prokofiev, Milhaud, Poulenc, Ravel, Walton, and Berg. Additionally, as part of this memorable time abroad, he heard both Rhapsody in Blue and the Concerto in F played in his honor by French musicians.

The following summer (1929), Gershwin made his dŽbut as a conductor in an outdoor concert at Lewisohn Stadium in New York where conducted the New York Philharmonic Orchestra in An American in Paris and Rhapsody in Blue, playing the piano part of the latter himself before an audience of more than fifteen thousand people. During October 1929, he signed a contract to compose a "Jewish opera," to be called The Dybbuk, for the Metropolitan Opera, but that operatic work was never completed. While in Hollywood from November 1930 to February 1931, Gershwin maintained his commitment to concert music, as he and Ira wrote the musical score for the film Delicious, and they began work on the Broadway musical Of Thee I Sing. Gershwin also composed most of his Rhapsody No. 2 for piano and orchestra during this period.

Unlike any American composer before him, Gershwin managed to broaden the musical scope of his craft without sacrificing his popularity, and by the early 1930s, the range of his works caused him to be viewed as a major figure in modern music. Thus established as a composer of considerable talent, he maintained his place on Broadway by writing some of his most successful musicals, including Strike up the Band, premiered in 1927 and revised in 1930, Girl Crazy from 1930, and the afore-mentioned Of Thee I Sing from 1931, which won the Pulitzer Prize for drama. Gershwin also continued his concerts and tours, and from 1934Ð1935, he hosted and played on a radio program broadcast by CBS, entitled "Music by Gershwin."

In June of 1936, George and Ira signed a contract with RKO Film Studios, and by August they had moved to Hollywood. The songs they supplied for such films as Shall we Dance? and A Damsel in Distress in 1937 and The Goldwyn Follies, released in 1938, were among their best collaborative works. In between these projects, Gershwin maintained his study of harmony and composition, and while taking lessons with Joseph Schillinger from 1932Ð1936, he wrote the Cuban Overture (1932), a set of Variations for piano and orchestra on the song I Got Rhythm, and his magnum opus, the opera Porgy and Bess.

Since 1926, when he first read the novel, Gershwin had considered the idea of composing a full-length opera based on DuBose HeywardÕs Porgy, a story about life among the black inhabitants of "Catfish Row" in Charleston, South Carolina. After many delays, Dubose Heyward and the Gershwin brothers signed a production contract in October of 1933 with the Theatre Guild of New York, and their collaboration on this project was under way. Gershwin began the score in February of 1934, and during the next summer he stayed in South Carolina, composing and absorbing local influences at Folly Beach, located on a barrier island about ten miles from Charleston. From this location, the Gershwins could observe the Gullahs, an isolated group living on adjacent James Island, who became the prototypes of the Catfish Row residents. It was a happy collaboration as DuBose Heyward wrote the libretto, and Ira Gershwin and Heyward wrote the lyrics. Heyward's contributions included the lyrics to Summertime and My Man's Gone Now.

By mid-August the Gershwins left Charleston, and George applied himself to finishing the recitatives and orchestrating the opera. When it was finally completed in July, 1935, the 700 pages of music represented Gershwin's most ambitious creation and his favorite composition. According to David Ewen, he "never quite ceased to wonder at the miracle that he had been its composer. He never stopped loving each and every bar, and he never wavered in the conviction that he had produced a work of art." Billed as "an American folk opera," Porgy and Bess opened in New York in October of 1935 in a Broadway theatre and not an opera house. The opera ran for 124 performances, and it closed without earning enough to recover the original investment, and therefore it was considered a financial failure.

Today, Porgy and Bess is revered by many as one of the finest examples of grand opera ever penned by an American composer. Gershwin was obviously influenced by black spirituals, gospel music, and African-American dance rhythms, which pervade this intriguing story of love, murder, and longing in a manner unparalleled in opera history. Although criticized in some quarters as presenting a negative view of African-American life, Gershwin succeeded in giving a musical voice, an operatic voice, to African-Americans for the first time. The sublime beauty of his melodies bestows a great nobility upon his black characters in a uniquely American operatic setting, resonating universal human themes. Among all of his works, Porgy and Bess is undoubtedly his greatest musical achievement, frequently performed in opera houses around the world and regarded as a masterpiece of Twentieth Century opera. George Gershwin and Dubose Heyward talked of collaborating on a second opera to be entitled Porgy in New York, but sadly, within two years and before the project could materialize, both men died unexpectedly.

GershwinÕs untimely death was a truly shocking and unexpected event, since he was seemingly on the threshold of even greater musical achievements. At the beginning of 1937, Gershwin complained of intermittent dizzy spells and feelings of emotional despondency, but he continued to perform in public and to compose. On July 9, 1937, he fell suddenly into a coma. A brain tumor was diagnosed and emergency surgery performed. However, on the morning of July 11, 1937, Gershwin died at the age of thirty-eight. Four days later, after memorial services in New York and Hollywood, he was buried in Mount Hope Cemetery, Hastings-on-Hudson, New York.

On the surface, Gershwin is often remembered primarily as a songwriter, composing hundreds of songs for Tin Pan Alley, the Broadway stage, and Hollywood films. But it must be stated that Gershwin was not content to compose only in the medium of popular music. With each successive Classical composition, he further honed his skills as an accomplished composer of serious music. In Gershwin's view these two musical worlds were not mutually exclusive, and he achieved his greatest personal satisfaction by composing music for audiences in both spheres. During his lifetime European composers were far more sympathetic to Gershwin than were his American contemporaries. Maurice Ravel and Kurt Weill paid him the highest compliment: large-scale imitation. Ravel quoted Rhapsody in Blue in his Piano Concerto in G, and Weill, who after Gershwin's death collaborated with Ira Gershwin, modeled his opera Street Scene on Porgy and Bess. Prokofiev and Berg also expressed admiration, and Schoenberg, who played tennis with Gershwin in Hollywood, defended him as a "man who lives in music and expresses everything, serious or not, sound or superficial, by means of music, because it is his native language."

http://www.afamilyquilt.com/meredith/gershwin.htm

George's parents were Jewish-Russian immigrants. His father's name was Morris Gershovitz, and his mother's was originally Rose Bruskin. They were married in 1895, and Americanized their name to Gershwin. They had four children. Ira was born on December 6, 1896. George was their second son, born on September 26, 1898. Arthur and Francis were next in line in 1900 and 1906 (Rowley 1). George's birthplace was Brooklyn, New York. His father was a somewhat unsuccessful entrepreneur, and the family had moved twenty-eight times by the time George was eighteen (Penumbra 1).

George's childhood was different from what many might think. He was out-going and energetic, but a trouble maker at school. He showed no interest in music. The family went bankrupt in 1914 and moved to Coney Island, where George became known as a fighter. He stole fruit, pretzels, and bagels from the local shops (Rowley 1). He was an outdoors boy, who didn't care for indoor activities (Penumbra 1).

Even though he didn't seem to care for it, music had a profound effect on George. Once, while passing an arcade, he heard a mechanical piano playing Rubinstein's "Melody in F." He seemed to be put in a trance. A few years later, when he heard Maxie Rosenzweig playing the violin, he waited outside the school for an hour in the rain just to meet the older boy. Eventually, the two became the best of friends, and Maxie taught George everything he knew about music (Rowley 1). Unfortunately, he also told George that he didn't have any musical aptitude, but he didn't let that stop him. George's love of music grew from that point on (Penumbra 1-2).

In 1910, the Gershwin's bought a piano for Ira. As soon as the piano came through the door, George sat down and played a pop tune of the day. It soon became evident that it was George's piano, not Ira's, and he started receiving lessons from a neighborhood lady (Rowley 2). When she couldn't teach him anymore, he became a student of Charles Hambitzer. Hambitzer was so impressed by George's skill that he would not accept payment for the lessons (Penumbra 2). George's technique improved greatly, and he learned the basics of classical music. George also started lessons with Mr. Kilenyi for theory. Between the two teachers, he became a very good pianist. It was during this time that George wrote his very first songs. They were ragtime with a classical form, and were called "Since I Found You" and "Ragging at the Traumerei" (Rowley 2).

George spent long hours working at his father's restaurant for four dollars a week (Rowley 2). He also held a summer job playing the piano at a mountain resort in the Catskills in 1913 (Penumbra 2). He attended the High School of Commerce, but he hated it, and dropped out. He began a job as a song plugger for fifteen dollars a week at Remick's, a publishing house. A song plugger is a pianist who performs new songs in hopes of selling sheet music. He and his mother argued about it for a long while-she wanted him to be a lawyer or accountant-but eventually she gave in (Rowley 2).

George was the best at his job at Remick's. He quickly became skilled at transposing into different keys easily. He saw much of New York while traveling across the city for his job, and started writing music. He would write late into the night in his notebook labeled "GT," which stood for good tunes. Remick's refused to publish his music, but he continued to write. He was influenced greatly by Irving Berlin and Jerome Kern (Rowley 2). In 1917, George quit his job at Remick's and worked as a vaudeville circuit pianist. He was then hired to write music for the publishing house T. B. Harms. He also toured as Nora Bayes' accompanist (Erb 1).

Five songs written by George were included in the musical Half Past Eight, but it was unsuccessful. George wrote the entire score to La La Lucille, which premiered on May 26, 1919 (Penumbra 2). In 1920 (Jolley: The Works 1), Al Jolson incorporated "Swanee" into his show, Sinbad. It became a big hit, selling over two million copies. Gershwin also wrote the score for George White's Scandals from 1920-1924 (Penumbra 2).

In 1924, George agreed to write a jazz concerto for Paul Whiteman's program. He began work on it less than one month before the performance (Rowley 2). On February 12 (Penumbra 2), it was second to last on the program, and the audience was bored. They gave "Rhapsody in Blue" a standing ovation, and this piece has gone on to become a standard in American music literature (Rowley 2).

George went on to write for the musicals Primrose, TipToes, Song of the Flame, Lady Be Good!, Oh, Kay!, Strike Up the Band, Funny Face, Rosalie, and Treasure Girl from 1924-1928. He wrote "Concerto in F" in 1925 (Jolley: The Works 2). When he took a trip to Paris, an idea for a symphonic dance grew. In 1927, it eventually turned out to be "An American In Paris," which even used four French car horns in the score (Jolley 1)!

George's first experience in conducting was in Lewishon Stadium, in Brooklyn. In 1930, he conducted for his musical Girl Crazy, where the orchestra included Benny Goodman, Glen Miller, and Jimmy Dorsey (Penumbra 5). In Girl Crazy, Ethel Merman introduced the famous song, "I Got Rhythm" (Erb, pg. 1).

George went to Hollywood for a contract with Fox Studios. He was to write the score for Delicious. He wrote another rhapsody, but they used only a small portion of it in the film. George continued to work on it after a move back to New York, and it debuted as the "Second Rhapsody" on January 1, 1932. George and his brother Ira collaborated on Of Thee I Sing, which was a smash hit. It won multiple Pulitzer prizes. When George took a Cuban vacation in 1932, he was inspired to write Cuban Overture. Later, he wrote two sequels to Of Thee I Sing, which both flopped (Penumbra 5-6). The ideas for Porgy and Bess had first originated in George's mind in 1926; he began writing the score in 1934. It finally opened in 1935, but closed after only one hundred thirty-four performances (Penumbra 6)! It had little success at its opening, but it later became more popular (Jolley 1).

During the Great Depression, theater business slowed, but the movie-making industry in California was booming. George moved to Hollywood in 1936 to write the score for Shall We Dance. He enjoyed a leisurely life there, playing golf, tennis, and swimming (Penumbra 6). While there, he wrote songs with his brother and lyricist Ira. Fred Astaire, Ginger Rodgers, and other famous stars of the day performed them. Some of his most famous songs during this time were "S'Wonderful," "Someone to Watch Over Me," and "Our Love is Here to Stay" (Jolley 1).

On February 10, 1937, George suffered a blackout while performing onstage. He saw a doctor, but was diagnosed perfectly healthy. By early June, he suffered from headaches, but dismissed them as from overwork. He had another doctor's exam, but didn't want a spinal tap because it was too painful. From then on, he lost his health rapidly. He played the piano the morning of July 9, 1937, and by the end of the day, he was in a coma. Doctors discovered a brain tumor from a spinal tap on July 10 (Penumbra 7). It was decided he needed immediate surgery, but the country's top surgeon, Dr. Dandy, was vacationing on his yacht. President Roosevelt sent two navy destroyers to get him, but he returned too late. Local surgeons had to begin the surgery before he could get there. George never woke up from the coma. He died on July 11, 1937, at the young age of thirty-eight. John O'Hara, an author, said of his death, "I don't have to believe it if I don't want to" (Erb 2).

George Gershwin was well known by the time of his early death, but concert pianists didn't start playing his works until the 1950s and 60s (Sylvester 2). The centennial of his birth was celebrated on September 26, 1999 (Mason 1). A twenty-four hour tribute on National Public Radio, Turner Classics Movie features, and tribute concerts by Linda Ronstadt and Rosemary Clooney were given to honor this great man (Sylvester 1-2).

His works were loved yesterday and today, and many of them have become great American standards. "When I'm in my normal mood, the tunes come dripping off my fingers," he said. Immortal songs flowed out of George Gershwin, and he will be forevermore remembered for that.

1930; Gershwin

Morris Gershwin Age;58 BirthYear;1871 Russia Head White Manhattan, New York, NY owned his home, valued; $10,000 had a radio. Married at 21 came to the country in 1891. Retired from the Restaurant Business?
Rose Gershwin Age; 53 BirthYear;1876 Wife Manhattan, New York, NY

married at age 16
Otto Gershwin (might say Arthur not Otto) Age;30 BirthYear;1899 Son Manhattan, New York, NY

born in New York.
Francis Gershwin Age;23 BirthYear;1906 Daughter Manhattan, New York, NY
the lived in District 485 ; MANHATTAN BOROUGH, ASSEMBLY DIST. 11 (PART), BOUNDED BY (N) W. 106TH; (E) W. END AVE.; (S) W. 102D; (W) HUDSON RIVER.

They had a live in maid from Ireland by the last name of Francis she was 23 years old. I am pasting a part of the original senses;

---------------------------------Image Source: Year: 1930; Census Place: Manhattan, New York, New York; Roll: T626_1559; Page: 4B; Enumeration District: 485; Image: 0753.
George Gershwin Age; 31 BirthYear; 1898 New York Head White Manhattan, New York, NY. Russian/Yiddish speaking parents. it is written that he is single and a music composer. Lived in District 403, MANHATTAN BOROUGH, ASSEMBLY DIST. 7 (PART), APTS. AT 33 RIVERSIDE DR. Next to his brother; Ira and his wife. both brothers rented their places. Ira paid $300 a month I cant read the amount for George.
He had a cook living with him. She was from Austria, age 41 and married since age 27.
next door lived
Ira Gershwin Age;33 BirthYear;1896 New York Head White Manhattan, New York, NY

married at age 29. Yiddish speaking parents.Writter of Music.
Leonore Gershwin Age';29 BirthYear;1900 Wife Manhattan, New York, NY

married at age 25. She was born in New York to Russian/Yiddish speaking parents.
They had a servant from Germany living with them.

Image Source: Year: 1930; Census Place: Manhattan, New York, New York; Roll: T626_1553; Page: 1A; Enumeration District: 403; Image: 1092.

Philip Gershwin Age;37 BirthYear;1892 Russia Head White Boston, Suffolk, MA

Jennie Gershwin Age;33 BirthYear(1896 Wife Boston, Suffolk, MA

Sylvia Gershwin Age;15 BirthYear1914 Daughter Boston, Suffolk, MA

Florence Gershwin Age;13 BirthYear;1916 Daughter Boston, Suffolk, MA

Arthur Gershwin Age;11 BirthYear;1918 Son Boston, Suffolk, MA

Edward Gershwin Age;8 BirthYear(;1921 Son Boston, Suffolk, MA

Max Gershwin Age;43 BirthYear;1886 Poland Head White Manhattan, New York, NY

Anna Gershwin Age;40 BirthYear(;1889 Wife Manhattan, New York, NY

Samuel Gershwin Age;14 BirthYear;1915 Son Manhattan, New York, NY

Rose Gershwin Age; 9 BirthYear;1920 Daughter Manhattan, New York, NY

Gertrude Gershwin Age; 7 BirthYear(;1922 Daughter Manhattan, New York, NY

in 1920 Census

Gershwin, Nabis 46 BirthYear(1920, '46');1873 Connecticut White Hartford, Hartford, Connecticut

Gershwin, Frances 13 BirthYear(1920, '13');1906 New York White Manhattan, New York, New York

Gershwin, Morris 47 BirthYear(1920, '47');1872 Russia White Manhattan, New York, New York here they wrote that he came to the country in 1893 and was naturalized in 1898 Yiddish speaking

Gershwin Rose, Wife age 39 came to the country from Russia in 1893 and was naturalized in 1898 Yiddish speaking. In resturant business

Gershwin Isadore, Son age 23 born in New York, lyric writer

Gershwin George, son age 21 born in New York, composer

Gershwin Arthur, son age 19 born in New York, salesman

Ellis Island;

Gershwin, George

New York City, N.Y.

September 23, 1924

26y

Majestic

Cherbourg, Manche, France

Address;

501, W. 110th Street, New York City

Gershovitch,Annie London, England 1914 10 Passenger Record Text Manifest Scanned Manifest Ship Image

340 Gershovitch,Dora London, England 1914 49 Passenger Record Text Manifest Scanned Manifest Ship Image

341 Gershovitch,Esther London, England 1914 18 Passenger Record Text Manifest Scanned Manifest Ship Image

342 Gershovitch,Gertrude London, England 1920 10 Passenger Record Text Manifest Scanned Manifest Ship Image

343 Gershovitch,Lily London, England 1920 11 Passenger Record Text Manifest Scanned Manifest Ship Image

344 Gershovitch,Max London, England 1914 13 Passenger Record Text Manifest Scanned Manifest Ship Image

345 Gershovitch,Rebecca London, England 1920 38 Passenger Record Text Manifest Scanned Manifest Ship Image

346 Gershovitch,Rose London, England 1914 16 Passenger Record Text Manifest Scanned Manifest Ship Image

347 Gershovitch,Samuel London, England 1914 7 Passenger Record Text Manifest Scanned Manifest Ship Image

348 Gershovitch,Solomon London, England 1920 26 Passenger Record Text Manifest Scanned Manifest Ship Image

349 Gershovitz,Binin Rossau 1910 31 Passenger Record Text Manifest Scanned Manifest Ship Image

350 Gershovitz,Tamarc 1903 17 Passenger Record Text Manifest Scanned Manifest Ship Image

351 Gershovitz,Zalmen Minsk 1905 21 Passenger Record Text Manifest Scanned Manifest Ship Image

352 Gershowiak,Stanslun Maditza Kalish 1907 17 Passenger Record Text Manifest Scanned Manifest Ship Image

353 Gershowicz,Kinde ..., Russia 1908 20 Passenger Record Text Manifest Scanned Manifest Ship Image

354 Gershowitz,Abram Kamenek 1906 22 Passenger Record Text Manifest Scanned Manifest Ship Image

355 Gershowitz,Hannah London 1903 20 Passenger Record Text Manifest Scanned Manifest Ship Image

356 Gershowitz,Luba Simferopol, Russia 1922 18 Passenger Record Text Manifest Scanned Manifest Ship Image

357 Gershowitz,Naum Goao Bucarest, Roumania 1922 17 Passenger Record Text Manifest Scanned Manifest Ship Image

358 Gershowitz,Silpe London 1904 20 Passenger Record Text Manifest Scanned Manifest Ship Image

359 Gershowitz,Slate London 1905 25 Passenger Record Text Manifest Scanned Manifest Ship Image

360 Gershowrotz,Charley Govna 1905 0 Passenger Record Text Manifest Scanned Manifest Ship Image

361 Gershowrotz,Hanna Roche Govna 1905 45 Passenger Record Text Manifest Scanned Manifest Ship Image

362 Gershowrotz,Israel Govna 1905 10

40 Gershbowitz,Hyman London, England 1907 0 Passenger Record Text Manifest Scanned Manifest Ship Image

41 Gershbowitz,Jennie London, England 1907 23 Passenger Record Text Manifest Scanned Manifest Ship Image

42 Gershbowitz,Louis London, England 1907 2

46 Gershcoivst,Henry New york USA 1912 26 Passenger Record

99 Gershenanitz,Beile Alexano, Russia 1913 5 Passenger Record Text Manifest Scanned Manifest Ship Image

100 Gershenanitz,Moishe Alexano, Russia 1913 28

101 Gershenanitz,Schmil Alexano, Russia 1913 7 Passenger Record Text Manifest Scanned Manifest Ship Image

102 Gershenanitz,Siheie Alexano, Russia 1913 8 P

131 Gershenovitz,Guti Wilna 1905 20 Passenger Record Text Manifest Scanned Manifest Ship Image

132 Gershenowitz,Cha...e Garadeie 1905 7 Passenger Record Text Manifest Scanned Manifest Ship Image

133 Gershenowitz,Feige Garadeie 1905 41 Passenger Record Text Manifest Scanned Manifest Ship Image

134 Gershenowitz,Gaoriel Minsk 1904 11 Passenger Record Text Manifest Scanned Manifest Ship Image

135 Gershenowitz,Inie Plis 1904 24 Passenger Record Text Manifest Scanned Manifest Ship Image

136 Gershenowitz,Jonah Minsk 1904 10 Passenger Record Text Manifest Scanned Manifest Ship Image

137 Gershenowitz,Leib Lida, Russia 1908 14 Passenger Record Text Manifest Scanned Manifest Ship Image

138 Gershenowitz,Leie Garadeie 1905 11 Passenger Record Text Manifest Scanned Manifest Ship Image

139 Gershenowitz,Morris London 1904 20 Passenger Record Text Manifest Scanned Manifest Ship Image

140 Gershenowitz,Mowshe Lida, Russia 1908 13 Passenger Record Text Manifest Scanned Manifest Ship Image

141 Gershenowitz,Roche Lida, Russia 1908 56 Passenger Record Text Manifest Scanned Manifest Ship Image

142 Gershenowitz,Wolf Plis 1904 0 Passenger Record Text Manifest Scanned Manifest Ship Image

143 Gershenowsky,Gubel London 1898 48 Passenger Record Text Manifest Scanned Manifest Ship Image

163 Gershenzvit,Uwach Kamenetz, Russia 1910 22

188 Gershkovics,Haim Kishinew, Bessarabia 1923 25 Passenger Record Text Manifest Scanned Manifest Ship Image

189 Gershkovitz,Abe Newport, Ken. 1916 9 Passenger Record Text Manifest Scanned Manifest Ship Image

190 Gershkovitz,Abraham Newport, Ken. 1916 7 Passenger Record Text Manifest Scanned Manifest Ship Image

191 Gershkovitz,Isider Newport, Ken. 1916 8 Passenger Record Text Manifest Scanned Manifest Ship Image

192 Gershkovitz,Rosa Newport, Ken. 1916 28 Passenger Record Text Manifest Scanned Manifest Ship Image

193 Gershkovitz,Rubin 1893 21 Passenger Record Text Manifest Scanned Manifest Ship Image

194 Gershkowich,Sam London, Eng. 1907 26 Passenger Record Text Manifest Scanned Manifest Ship Image

195 Gershkowich,Sophia London, Eng. 1907 19 Passenger Record Text Manifest Scanned Manifest Ship Image

196 Gershkowitsch,Judel Bobrusk, Russia 1923 41 Passenger Record Text Manifest Scanned Manifest Ship Image

197 Gershkowitsch,Roza Bobrusk, Russia 1923 9 Passenger Record Text Manifest Scanned Manifest Ship Image

198 Gershkowitsch,Vecha Bobrusk, Russia 1923 41 Passenger Record Text Manifest Scanned Manifest Ship Image

199 Gershkowitz,Berel Orgiew, Rssia 1912 40 Passenger Record Text Manifest Scanned Manifest Ship Image

200 Gershkowitz,Berl Kiszeniew, Russia 1913 56 Passenger Record Text Manifest Scanned Manifest Ship Image

201 Gershkowitz,Bruche Orgiew, Rssia 1912 36 Passenger Record Text Manifest Scanned Manifest Ship Image

202 Gershkowitz,Chaim Hotin, Roumania 1921 15 Passenger Record Text Manifest Scanned Manifest Ship Image

203 Gershkowitz,Gershe Bershird, Russia 1914 38 Passenger Record Text Manifest Scanned Manifest Ship Image

204 Gershkowitz,Hanna Medias, Romania 1921 31 Passenger Record Text Manifest Scanned Manifest Ship Image

205 Gershkowitz,Isaac Medias, Romania 1921 6 Passenger Record Text Manifest Scanned Manifest Ship Image

206 Gershkowitz,Itzik Snitkew, Russia 1913 28 Passenger Record Text Manifest Scanned Manifest Ship Image

207 Gershkowitz,Joib Hotin, Roumania 1921 16 Passenger Record Text Manifest Scanned Manifest Ship Image

208 Gershkowitz,Schlime Orgiew, Rssia 1912 11 Passenger Record Text Manifest Scanned Manifest Ship Image

209 Gershkowitz,Schlojme Orgiew, Rssia 1912 3 Passenger Record Text Manifest Scanned Manifest Ship Image

210 Gershkowitz,Shulim Medias, Romania 1921 31 Passenger Record Text Manifest Scanned Manifest Ship Image

211 Gershkowitz,Taube Orgiew, Rssia 1912 8 Passenger Record Text Manifest Scanned Manifest Ship Image

212 Gershkowitz,Wolf Medias, Romania 1921 8

256 Gershnovitz,Abraham Manchester 1903 26

Gershonitz,Chane Obrzin, Russia 1914 17

322 Gershonovitz,Broche 1895 19 Passenger Record Text Manifest Scanned Manifest Ship Image

323 Gershonovitz,Jankel 1895 7 Passenger Record Text Manifest Scanned Manifest Ship Image

324 Gershonow,Barnett Manchester 1905 23 Passenger Record Text Manifest Scanned Manifest Ship Image

325 Gershonow,Lilly Manchester 1905 0 Passenger Record Text Manifest Scanned Manifest Ship Image

326 Gershonow,Rebecca Manchester 1905 22 Passenger Record Text Manifest Scanned Manifest Ship Image

327 Gershonowicz,M...eo Minsk 1904 22 Passenger Record Text Manifest Scanned Manifest Ship Image

328 Gershonowitch,Leah Manchester, England 1916 22 Passenger Record Text Manifest Scanned Manifest Ship Image

329 Gershonowitz,Mordehc Neustadt, Russia 1911 20 Passenger Record Text Manifest Scanned Manifest Ship Image

Name Residence Arrived Age View View View View

1 Gershowitz,Abram Kamenek 1906 22 Passenger Record Text Manifest Scanned Manifest Ship Image

2 Gershowitz,Hannah London 1903 20 Passenger Record Text Manifest Scanned Manifest Ship Image

3 Gershowitz,Luba Simferopol, Russia 1922 18 Passenger Record Text Manifest Scanned Manifest Ship Image

4 Gershowitz,Naum Goao Bucarest, Roumania 1922 17 Passenger Record Text Manifest Scanned Manifest Ship Image

5 Gershowitz,Silpe London 1904 20 Passenger Record Text Manifest Scanned Manifest Ship Image

6 Gershowitz,Slate London 1905 25 Passenger Record Text Manifest Scanned Manifest Ship Image

6 Girshovich,Myer Manchester, England 1915 22 Passenger Record Text Manifest Scanned Manifest Ship Image

7 Girshovitch,Esther-Feiga Alexandrovsk, Russia 1923 2 Passenger Record Text Manifest Scanned Manifest Ship Image

8 Girshovitch,Motia Alexandrovsk, Russian 1923 26 Passenger Record Text Manifest Scanned Manifest Ship Image

9 Girshovitch,Sonia Alexandrovsk, Russia 1923 23 Passenger Record Text Manifest Scanned Manifest Ship Image

10 Girshovitz,Lewis Wagielon 1905 30 Passenger Record Text Manifest Scanned Manifest Ship Image

11 Girshowicz,Leia Reczica, Russia 1913 25 Passenger Record Text Manifest Scanned Manifest Ship Image

12 Girshowitz,Berka Slutzky, Russia 1908 30 Passenger Record Text Manifest Scanned Manifest Ship Image

13 Girshowitz,Chiene Pam... 1905 0 Passenger Record Text Manifest Scanned Manifest Ship Image

14 Girshowitz,Taube Pam... 1905 21 Passenger Record Text Manifest Scanned Manifest Ship Image

15 Girshowzen,Marie U 1895 32 Passenger Record Text Manifest Scanned Manifest Ship Image

Girschawitz,Chaje Holbyn, Russia 1909 40 Passenger Record Text Manifest Scanned Manifest Ship Image

94 Girschawitz,Feige Holbyn, Russia 1909 9 Passenger Record Text Manifest Scanned Manifest Ship Image

95 Girschawitz,Moische Holbyn, Russia 1909 10 Passenger Record Text Manifest Scanned Manifest Ship Image

96 Girschawitz,Rive Holbyn, Russia 1909 8

Girschkouritz,Brandel Odessa, Russia 1906 18 Passenger Record Text Manifest Scanned Manifest Ship Image

232 Girschkovitz,Israel Reval, Estonia 1922 29 Passenger Record Text Manifest Scanned Manifest Ship Image

233 Girschkowitz,Borris 1893 20 Passenger

253 Girschonitz,Feige Wilna 1905 28 Passenger Record Text Manifest Scanned Manifest Ship Image

254 Girschonitz,Leibe Wilna 1905 5 Passenger Record Text Manifest Scanned Manifest Ship Image

255 Girschonitz,Nicke Wilna 1905 0 Passenger Record Text Manifest Scanned Manifest Ship Image

256 Girschonitz,Sore Wilna 1905 4 Passenger Record Text Manifest Scanned Manifest Ship Image

257 Girschovicz,Berl Sluck 1898 2 Passenger Record Text Manifest Scanned Manifest Ship Image

258 Girschovicz,Isser Sluck 1898 4 Passenger Record Text Manifest Scanned Manifest Ship Image

259 Girschovicz,Libe R. Sluck 1898 29

253 Girschonitz,Feige Wilna 1905 28 Passenger Record Text Manifest Scanned Manifest Ship Image

254