George Gershwin: The Man Who Could Not Be Taught
“Why be a second-rate Ravel when you are already a first-rate Gershwin.” This was Ravel’s famous rejoinder to the American composer’s request to become the Frenchman’s student. But did you know George Gershwin faced other rejections throughout Europe?
By Joseph John L. Verallo · July 8, 2026
With his brother Ira Gershwin, George was stirring the New York public with his musical comedy songs. By that time he’d already composed his famous Rhapsody in Blue, alongside other works such as his Concerto in F, both of which occupied the composer as listeners frequently requested them and other pieces to be played.
Still, fame and money weren’t enough for the American composer. Around 1928, he wanted to try his hand at opera. He saw Europe as the best place to find a worthy teacher. After all, the continent had been the home of several important Western composers for centuries.
Before embarking for London, Gershwin had received word from a friend, mezzo-soprano Eva Gauthier, that Maurice Ravel would be in New York. It was nearing the French composer’s 53rd birthday, and Gauthier wanted to host the celebration. She asked Ravel what he wanted the most, to which the composer replied that he wanted to hear George Gershwin play for him.
In the event of their meeting, the two well-established musicians received each other with equal admiration. Gershwin sat at the piano to play his Rhapsody in Blue, along with his other compositions. Ravel was evidently pleased by the performance. Some time afterwards, Gershwin asked the older French composer if he could study under him, to which, as you already know, Ravel politely rejected. The Boléro composer believed Gershwin would only lose his originality should he study under him.
This was, of course, a great compliment, but Gershwin was still in want of a teacher. It seemed he would have to find one in Europe after all.
Europe proved similar to New York in that his music was heard nearly everywhere. In Paris, Gershwin had the opportunity to meet big names at the time such as Stravinsky, Milhaud, Poulenc, and Prokofiev, playing his music for musicians like Leopold Stokowski, Vladimir Dukelsky, and William Walton.
Despite impressing quite a crowd of sophisticated musicians, Gershwin could not manage to convince them to be his teacher, each expressing a similar sentiment to Ravel’s. Even the great pedagogue Nadia Boulanger, who taught other American composers such as Aaron Copland, Virgil Thomson, Elliott Carter, and Philip Glass, felt that there was nothing left to teach Gershwin.
It was evident people saw something in Gershwin that Gershwin could not see in himself. With him, the adage likely runs especially true that you are your own worst critic.