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I agree. Previn is a good conductor and a decent composer for the concert hall. But he was a truly GREAT film composer, and if he'd stayed in the biz I suspect today he'd be regarded almost equal in stature with John Williams. Yavar
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A lot of great posts, I'd say, all around. I'm proud of you guys -- (and agree with many of you...)
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I respect and understand Previn's position, but the guy has done so much damage to film music. Personally, he felt he had to turn his back totally on it. But he gave a lot of ammo to the classical music world who could hold him up as an example, "Previn was there, you see, and he says it's all crap." Don't be hard on Andre. It's actually the opposite. There was a lot of zeitgeist affectation in the 1970s and he had to play to it. He's a master of negative psychology, as are all successful 'players' in the fame game. He trod a fine line, and sometimes it's necessary to adopt professional persona. Actually, concert listeners are MORE likely to sample his film scores precisely BECAUSE he disses Hollywood. 'Oh, I can listen to PREVIN's scores safely, because he's made it clear he hates the genre...' is the pattern. So his effect is the reverse of what you'd think. He gives credibility to the best film scoring by bothering to highlight it at all.
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Posted: |
May 23, 2014 - 7:15 AM
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By: |
Rozsaphile
(Member)
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I respect and understand Previn's position, but the guy has done so much damage to film music. . . . he gave a lot of ammo to the classical music world who could hold him up as an example, "Previn was there, you see, and he says it's all crap." I don't think the naysayers ever needed much ammo. And Previn certainly didn't say it was all crap. His book had generous tributes to Korngold, Rozsa, and Herrmann. And, let's face it, a lot of Hollywood music was, and is, functional without being especially creative.
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