Bernstein performed a wide repertoire from the Baroque era to the 20th century, although perhaps from the 1970s onwards he tended to focus more on music from the Romantic era. He was considered especially accomplished with the works of Gustav Mahler and with American composers in general, including George Gershwin, Aaron Copland, Charles Ives, Roy Harris, William Schuman, and of course himself. Some of his recordings of works by these composers would likely appear on many music critics' lists of recommended recordings. A list of his other well-thought-of recordings would include, among others, individual works from Haydn, Beethoven, Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky, Hindemith, and Shostakovich. His recordings of "Rhapsody in Blue" (full-orchestra version) and "An American in Paris" for Columbia Records, released in 1959, are considered definitive by many, although Bernstein cut the "Rhapsody" slightly, and his more 'symphonic' approach with slower tempi is quite far from Gershwin's own conception of the piece, evident from his two recordings. (Oscar Levant, Earl Wild, and others come closer to Gershwin's own style.) Bernstein never conducted Gershwin's Piano Concerto in F, or more than a few excerpts from "Porgy and Bess", although he did discuss the latter in his article "Why Don't You Run Upstairs and Write a Nice Gershwin Tune?", originally published in "The New York Times" and later reprinted in his 1959 book "The Joy of Music".