The amazing thing is his ability to conduct and skip in and out of his own playing so seamlessly. His concentration and total confidence are remarkable.
I remember the first time I ever heard Andre Previn...I was in the Army and we received records from USO and one was of Andre Previn...he was 14 years of age and had come from, I believe Austria...an amazing musician...and, would later become the musical director for MGM at the ripe old age of 21! I have CD's of him playing jazz...which is a favorite of him...fantastic pianist!
If this is not the best peice of music written I don't know what is. Love Gershwin and this is my all time fave - Dave Brubeck's Take Five is also on my list!
Previn was 79 when he made this (or 78 if you accept his own claim of 1930 as a birthdate); this is a consummate jazz/classical pianist really enjoying himself playing his native music. The New York Philharmonic might give a more authentic 'Bronx' accent to the piece but the NHK guys don't seem to be slouches at hitting the mark! Nice one, Andre!
Andre was amazing, a true virtuoso. I notice he plays a Bosendorfer Imperial - a most expressive piano! This orchestra was good, the musicians on the whole seemed young and maybe not as experienced - for comparison listen to Bernstein in the New York Philharmonic at Frankfurt in 1976 for example - though those are older tech AV recordings. I'd like to have hear and seen a modern top AV recording of Andre (or his like), with an Bosendorfer Imperial, accompanied with a truly top line orchestra such as NYP.
@cerbat I can only compare this with Ferde Grofe's version, and unfortunately it is then even difficult because the recording qualities seem vastly different
I don't find this piece to be completely devoid of ALL emotion. Keep in mind this is a rather whimsical composition and, when you add to that the fact that the conductor is part of the orchestral mechanism you can begin to somewhat understand that you shouldn't be necessarily expecting evocation of waves of emotion.
@andrewhilbert1 i agree. They're just playing the notes.. not really putting their compassion behind it. It sounds like most mainstream songs.. no emotion.
What was he doing with the tempo? As a layman it seems to me like he's slowing it down in places and speeding it up in others - but I have no idea what the overall purpose is. Can anyone explain ... ?
Yes. You're right. Musicians do this often when they can get away with it. As someone else explained it's called Rubato - literally " robbed time" . It's used by instrumental musicians and singers. You'll hear it everywhere in music esp jazz in iys myriad forms and anyone who borrows from The Great American Songbook.
@AnotherWeasley825 in all fairness being a piano conductor doesn't allow for the greatest flexibility. I can agree with your criticism in some regards however
I have heard this piece conducted by Gershwin himself: how on earth can you say that. It is a modern take here and there but in general it is not so far away. Not Gershwin? Very laughable statement.
The amazing thing is his ability to conduct and skip in and out of his own playing so seamlessly. His concentration and total confidence are remarkable.
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I remember playing this piece for concert band in high school. It feels nice to listen to it again.
The best all-round musician i have ever heard.
I remember the first time I ever heard Andre Previn...I was in the Army and we received records from USO and one was of Andre Previn...he was 14 years of age and had come from, I believe Austria...an amazing musician...and, would later become the musical director for MGM at the ripe old age of 21! I have CD's of him playing jazz...which is a favorite of him...fantastic pianist!
RIP Andre Previn. Genius.
Previn's interpretation of Rhapsody in Blue beats them all. Gershwin must be applauding in Heaven.
Togeter at last sadly.
If this is not the best peice of music written I don't know what is. Love Gershwin and this is my all time fave - Dave Brubeck's Take Five is also on my list!
Brubeck didn't write Take Five, it's by Paul Desmond.
Previn was 79 when he made this (or 78 if you accept his own claim of 1930 as a birthdate); this is a consummate jazz/classical pianist really enjoying himself playing his native music. The New York Philharmonic might give a more authentic 'Bronx' accent to the piece but the NHK guys don't seem to be slouches at hitting the mark! Nice one, Andre!
Andre was amazing, a true virtuoso. I notice he plays a Bosendorfer Imperial - a most expressive piano! This orchestra was good, the musicians on the whole seemed young and maybe not as experienced - for comparison listen to Bernstein in the New York Philharmonic at Frankfurt in 1976 for example - though those are older tech AV recordings. I'd like to have hear and seen a modern top AV recording of Andre (or his like), with an Bosendorfer Imperial, accompanied with a truly top line orchestra such as NYP.
I'm torn between this and the version by Lenny Bernstein and the guys of the NYPO. Like the USAF no-one else comes close!!
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4:31 - Magic!
wheres the big bit?
@cerbat I can only compare this with Ferde Grofe's version, and unfortunately it is then even difficult because the recording qualities seem vastly different
Bravoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
I don't find this piece to be completely devoid of ALL emotion. Keep in mind this is a rather whimsical composition and, when you add to that the fact that the conductor is part of the orchestral mechanism you can begin to somewhat understand that you shouldn't be necessarily expecting evocation of waves of emotion.
The clarinet could've let out a bit more in the beginning :P
@andrewhilbert1 i agree. They're just playing the notes.. not really putting their compassion behind it. It sounds like most mainstream songs.. no emotion.
What was he doing with the tempo? As a layman it seems to me like he's slowing it down in places and speeding it up in others - but I have no idea what the overall purpose is. Can anyone explain ... ?
It's called RUBATO, and can heighten emotion. Bill Evans employed rubato richly. Maybe Previn got something from Evans, as well as Tatum.
Yes. You're right. Musicians do this often when they can get away with it. As someone else explained it's called Rubato - literally " robbed time" . It's used by instrumental musicians and singers. You'll hear it everywhere in music esp jazz in iys myriad forms and anyone who borrows from The Great American Songbook.
Cuts off short...why?
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@cerbat actually I think Gershwin liked Oscar Levant's the best
Gershwin and Levin were buddies they knew each other very well
Was this recorded with a toaster?
2 people were inside the North tower during 9\11.
I just think the beginnning of the clarinet solo is way too fast on the downbeat
Tension while silent makes you feel the strength of horrible potential ability.
It's not half bad, but Lenny Bernstein's version is stellar.
Gershwin... just a bar composer..
@AnotherWeasley825 in all fairness being a piano conductor doesn't allow for the greatest flexibility. I can agree with your criticism in some regards however
i want his glasses lol jk jk beautiiful i would of paid big to be in that audience
@iCharleyStudios You can't call it a bad performance, but it is so far from the urtext many times. I don't like it, it isn't gershwin
I have heard this piece conducted by Gershwin himself: how on earth can you say that. It is a modern take here and there but in general it is not so far away. Not Gershwin? Very laughable statement.
The piece has little emotion. I think a computer production would sound better
Personally I think Gershwin was the greatest musical creative genius that we've produced thank you Richard
@TheVideoGameFreak100 uncalled for and inappropriate, please just dont make jokes about that.