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LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1 2 3      General Discussion: ANDRE PREVIN TODAY    FIRST   PRIOR   1 2 3       Last Post   Posted:   May 24, 2014 - 10:14 PM     By:   pp312   (Member) Well, as I said, Rozsa is always Rozsa, and where Rozsa is there's always fire, even within formalist contraints. I agree about the Theme and Variations particularly, and certainly any music suitable for accompanying Superman fighting a gorilla can't be lacking vitality.    Posted:   May 25, 2014 - 1:10 AM     By:   Preston Neal Jones   (Member) Ahhh -- there you have it. When I was a little boy and those shows were brand new, already that music leapt out at me as something special, obviously long before I knew anything about Rozsa. (Incidentally, those exact library tracks of Rozsa have recently been released on a CD...)    Posted:   May 25, 2014 - 1:41 AM     By:   Regie   (Member) P.S. -- With regard to GIGI, BELLS ARE RINGING and KISMET, I think it takes nothing away from Previn's accomplishments in this arena to point out that a lot of the credit for the sound of these particular MGM musicals must be shared, at least in part, with men such as Conrad Salinger, Alexander Courage, Robert Franklyn, etc, etc.. Oh you dear man - you've mentioned my wonderful Conrad Salinger. And you are so right - that sound belongs to him as well as Courage and Franklyn as you rightly suggest. Actually, I think you'd find Andre would completely agree with this. All hail Preston; Thane of Cawdor, Thane of Glamis!!    Posted:   May 26, 2014 - 3:37 PM     By:   Rozsaphile   (Member) Andre Previn was interviewed by KUSC back around 1988, when he conducted the West Coast premiere of Rozsa's Viola Concerto. The gist of his comment was that Rozsa's music was always dramatic by nature. That's a fairly obvious truth, and it's something that's not true of every composer. It was natural that MR found his way into the movies. Everybody benefited. One wonders what other outlet he would have found if he had not followed the cinematic muse. And one may wonder if Previn considers his own talent to lie in other areas.    Posted:   May 26, 2014 - 5:06 PM     By:   Preston Neal Jones   (Member) Somewhere in my audio-cassette cache is a "Lunch at the Music Center" radio broadcast in which, if memory serves, Rozsa and Previn were the guests. And if memory doesn't serve -- well, it wouldn't be the first time!    Posted:   May 27, 2014 - 3:07 PM     By:   SoundScope   (Member) For superb Previn doing musical conducting/arranging, there have been few musicals done as well on a recording than the soundtrack to "Bells Are Ringing". Ditto "Kismet". Previn's original and adaptation work for film was stellar! Good lord, I couldn't agree with you more! Kismet (though a dog of a film) is spectular to listen to! What he would have done with all of the songs one can only imagine. MY FAIR LADY is glorious and BELLS ARE RINGING is always a joy. So, that being said, I wish to god, PORGY and BESS could get released either on blu or CD or both!!!! A.P.s P&B is still my favorite version!    Posted:   May 27, 2014 - 7:32 PM     By:   WILLIAMDMCCRUM   (Member) The other difference between Previn's film & concert work (and indeed, most other composers who've led that double life - Leonard Bernstein included - as someone above mentioned "On the Waterfront" in an interesting context) is probably that the concert works, existing as purely a priori constructs, might lack an instant or constant "immediacy" in expression and development - with the composers taking more time to reach certain musical ideas that perhaps would have been compressed, or more explicit, or whatever, when "chained" to a film. If you cite 'On the Waterfront' in this context, it's worth remembering that Kazan instructed Bernstein to work alongside him on the dramatic development of climaxes in the screenplay, and that the film itself is constructed along 'symphonic' lines. That rarely happens.     General Discussion: ANDRE PREVIN TODAY    << < 1 2 3  >   Go to page:  1 2 3   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1 2 3

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