It
was with great sadness that the musical community heard of André Previn’s death
28 February 2019. Much coverage of the story was predicated around the ubiquitous
appearance on Morecambe and Wise in 1971: I remember that episode well. But it
is well to remember the breadth of Previn’s career as a pianist, composer,
arranger, conductor and author. His musical interests crossed many boundaries:
from jazz, film scores, musicals, concert music and pop. It must not be forgotten
that he did so much to encourage interest in classical music, both on his television
(Meet Andre Previn and Andre Previn’s Music Night) series and in
his published books.
The
illustration for this post has nothing to do with the Trio. It is chosen simply
because I once owned the LP pictured. Where I got it from, I cannot recall. I wish I had kept it.
My
only ‘war story’ about André Previn concerns a record shop that used to exist
just opposite Charing Cross Station on The Strand. I was engrossed in the
browsers working my way slowly from right to left, and, working his way from
left to right…was the Maestro. We bumped into each other, I apologised; he
apologised and smiled. He knew that I knew who he was.
I have never really
come across any of his compositions - apart from a handful of piano pieces. I
know that he is a composer of considerable stature, diversity and quantity. The
Arkiv catalogue currently lists some 46 CDs featuring Previn’s music, some of
it from his film scores and ‘jazz songs’ but also including a fair few
orchestral works like his piano and violin concertos. If I had ‘nine lives’
these would be areas slated for exploration. several years ago, I was privileged to review one of his most vibrant chamber works.
Previn’s Trio was composed during 1995 and was premiered in
New York on 31 January 1996. This work is a clever synthesis of styles. Poulenc
may be the exemplar, but jazz and even moments of ‘pop’ are skilfully blended
into the texture. The ‘spikiness’ of Stravinsky is another influence.
‘Elegance’ would seem to be the watchword in the first movement: for anyone who
thinks that a bassoon must always play the part of a clown, Previn shows that
it can also take the role of philosopher and lover. The slow movement is
particularly haunting with its languorous melodies played by oboe and bassoon.
The composer lets his hair down in the finale - jazz phrases and ‘breaks’ are
the order of the day, always piquant, and rhythmically free but definitely
establishing the work in a long line of ‘American’ works from Gershwin to
Copland and beyond. This is sophisticated music that is entertaining as well as
just occasionally challenging.
A
splendid performance of Andre Previn’s Trio for piano, oboe and bassoon (1996)
can he heard on YouTube.
This is performed by Nancy Ambrose King, oboe, Jeffrey Lyman, bassoon and
Michael Adcock, piano. It was recorded live in Britton Recital Hall, Moore
Music Building, University of Michigan School of Music, Theatre & Dance on
Sunday, November 11, 2018.
No comments:
Post a Comment