Review: No Minor Chords by André Previn

1993 ◽  
Vol 47 (1) ◽  
pp. 69-69
Author(s):  
Ross Care
Keyword(s):  
Andre Previn

: No Minor Chords . Andre Previn.

1993 ◽  
Vol 47 (1) ◽  
pp. 69-69
Author(s):  
Ross Care
Keyword(s):  
Andre Previn

London, Barbican: Knussen's Symphony in One Movement

Tempo ◽  
2003 ◽  
Vol 57 (223) ◽  
pp. 85-85
Author(s):  
Tom Service
Keyword(s):  
Symphony Orchestra ◽  
50Th Birthday ◽  
Andre Previn ◽  
World Premiere ◽  
Definitive Form

Oliver Knussen's Symphony in One Movement is his latest symphony. It is also his earliest – originally composed as the Concerto for Orchestra in 1969, and premièred by the 17-year old Knussen and the London Symphony Orchestra, with André Previn playing the flamboyant piano part. 33 years later, the piece has finally reached its definitive form, and Knussen conducted the BBC Symphony Orchestra in its world première as part of an all-Knussen programme in celebration of his 50th birthday, at the Barbican Hall on 1 November.

André Previn: A Bridge Between Two Worlds (review)

Notes ◽  
2012 ◽  
Vol 69 (1) ◽  
pp. 145-146
Author(s):  
John L. Clark
Keyword(s):  
Andre Previn

André Previn

2007 ◽  
Vol 62 (5) ◽  
Author(s):  
Ilse Schneider
Keyword(s):  
Andre Previn

Making Rollerball

Rollerball ◽  
2018 ◽  
pp. 37-70
Author(s):  
Andrew Nette
Keyword(s):  
Classical Music ◽  
West Germany ◽  
Modernist Architecture ◽  
Violent Action ◽  
Andre Previn ◽  
Post War

This chapter examines the making of Rollerball (1975). It starts with an overview of the cast and crew and the filming locations, principally Munich, West Germany, where Norman Jewison shot the film's game sequences and also utilised other aspects of the city's modernist architecture. For the making of Rollerball, Jewison brought together three of the leading lights of British post-war cinema — production designer John Box, Douglas Slocombe as director of photography, and Julie Harris as costume designer. Acclaimed European conductor André Previn scored the soundtrack, largely comprised of classical music. The chapter then presents a detailed scene-by-scene breakdown of the film, considering the interplay of their various contributions to Rollerball and how this influenced the final look and feel of the film, including how it blended the film's signature violent action with an examination of more sophisticated dystopian social themes.

scholarly journals Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins

2012 ◽  
Vol 27 (1) ◽  
pp. 54-74
Author(s):  
Durrell Bowman
Keyword(s):  
Film Noir ◽  
Gender Representations ◽  
Musical Narrative ◽  
David Cronenberg ◽  
Cultural Hierarchy ◽  
Bette Davis ◽  
Musical Scores ◽  
Andre Previn ◽  
The Aesthetic

This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.

scholarly journals Orchestral Theatre and the Concert as a Performance Laboratory

2019 ◽  
Vol 35 (04) ◽  
pp. 291-311
Author(s):  
Adrian Curtin
Keyword(s):  
Classical Music ◽  
Research Network ◽  
Musical Score ◽  
Cultural Significance ◽  
Senior Lecturer ◽  
Avant Garde ◽  
Tom Stoppard ◽  
National Theatre ◽  
Andre Previn ◽  
The University

In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour, by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer’s Amadeus, performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates ‘orchestral theatre’ as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network ‘Representing “Classical Music” in the Twenty-First Century’.

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