Why did some classical critics disagree about the quality of George Gershwin’s orchestral music?

Some classical critics and musicians have historically questioned the quality of George Gershwin’s orchestral music, primarily focusing on his approach to formal structure. Critics have characterized his works as being naively structured, suggesting they function as collections of catchy melodies held together by minimal musical connections rather than cohesive symphonic developments.1

In 1954, Leonard Bernstein articulated this perspective, acknowledging Gershwin as an inspired melodist—comparable to Tchaikovsky—while distinguishing that talent from the craft of a traditional composer. This debate centers on the tension between his intuitive, jazz-influenced style and the rigorous expectations of classical composition. Despite these criticisms, Gershwin’s work is widely celebrated for its genius in melody and harmony, earning the admiration of major figures such as Maurice Ravel and Arnold Schoenberg. Many scholars, such as Hans Keller, have argued that the perceived weaknesses in his structure are overshadowed by the inherent greatness and complexity of his invention.1