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Duke, Vernon. (1903 - 1969). "April in Paris" - Autograph Musical Quotation. Boldly penned and lenthy AMQS from the most popular song by the versatile Russian-born American composer. The opening 7 measures, the tune and lyrics, neatly signed and inscribed in fountain pen, “To Lionel A. Aucoin, from Vernon Duke, Sept. 27th, 1941,” matted and framed with a publicity photo to 12 x 19 inches overall. 


Composed by Vernon Duke with lyrics by E. Y. Harburg in 1932 for the Broadway musical, Walk A Little Faster, the original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50. It has been performed by virtually every significant jazz and popular singer and remains one of the greatest standards in the repertoire.


Composer Alec Wilder writes, "There are no two ways about it: this is a perfect theater song. If that sounds too reverent, then I'll reduce the praise to 'perfectly wonderful,' or else say that if it's not perfect, show me why it isn't." (American Popular Song: The Great Innovators, 1900-1950," p. 357)

Duke, Vernon. (1903 - 1969) "April in Paris" - Autograph Musical Quotation

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Duke, Vernon. (1903 - 1969). "April in Paris" - Autograph Musical Quotation. Boldly penned and lenthy AMQS from the most popular song by the versatile Russian-born American composer. The opening 7 measures, the tune and lyrics, neatly signed and inscribed in fountain pen, “To Lionel A. Aucoin, from Vernon Duke, Sept. 27th, 1941,” matted and framed with a publicity photo to 12 x 19 inches overall. 


Composed by Vernon Duke with lyrics by E. Y. Harburg in 1932 for the Broadway musical, Walk A Little Faster, the original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50. It has been performed by virtually every significant jazz and popular singer and remains one of the greatest standards in the repertoire.


Composer Alec Wilder writes, "There are no two ways about it: this is a perfect theater song. If that sounds too reverent, then I'll reduce the praise to 'perfectly wonderful,' or else say that if it's not perfect, show me why it isn't." (American Popular Song: The Great Innovators, 1900-1950," p. 357)