Category: Daily Dispatch

  • Andre Previn, Gregory, & Beecham: A Classical Mix

    Andre Previn, Gregory, & Beecham: A Classical Mix

    Saturday is a day of rest between my two André Previn salutes on WWFM – The Classical Network. Yesterday’s “Picture Perfect” was devoted to Previn’s film scores, and “The Lost Chord” (tomorrow night at 10:00 EDT) will focus on his concert works. If you miss them, both shows will be archived as webcasts at wwfm.org.

    By coincidence, earlier this week, The Criterion Collection held a flash sale on its extensive catalogue of DVDs and BluRays, and that put me in mind of another Andre – Andre Gregory, the batshit crazy theatre director, who plays “himself” in Louis Malle’s divisive cult classic, “My Dinner with Andre” (1981).

    This is my stepfather’s most hated film. The way he still rants about it, you would think it was the longest 111 minutes of his life. I happen to think it’s brilliant, and often hilarious. Then again, I know people who remind me a lot of Andre. Some of them follow this very page! Throwing a “beehive” has become part of my active lexicon.

    Wallace Shawn, again as himself, is put in the position of straight man. In contrast to Andre’s manic intensity as he relates his increasingly outlandish adventures (which include at one point being buried alive), Wally prefers the quiet enjoyment of ordinary pleasures, like drinking a cup of coffee or reading Charlton Heston’s autobiography.

    Virtually the entire film, with the exception of the epilogue (memorably underscored by Erik Satie’s “Gymnopédie No. 1”), unfolds in an actual restaurant, as the two old pals meet for a dinner, which is consumed in real time. It is one grand bull session – granted perhaps not for everyone – but I find it an enjoyable time capsule of New York in the late ‘70s and an accurate portrayal of the artist as self-absorbed, delusional, garrulous madman, who, in spite of himself, occasionally hits on something visionary.

    Also by coincidence, in searching for material to post for Handel’s birthday two weeks ago, I stumbled across this interview with conductor Sir Thomas Beecham, and it struck me how much at times it reminded me of Andre Gregory expounding to poor Wallace Shawn, complete with Shawn-like reaction shots of interviewer Peter Brook, Beecham’s captive audience.

    Though the entire video is certainly worthwhile, the actual interview takes place from 8:38 to 15:46.

    My Dinner with Sir Tommy.

  • Samuel Barber Birthday Celebration

    Samuel Barber Birthday Celebration

    Paul Moon reminds me that today is Samuel Barber’s birthday. Watch Paul’s documentary, Samuel Barber: Absolute Beauty, at samuelbarberfilm.com.

    Barber makes a wish in 1977:

    Happy birthday, Sam! It’s a good day for a trip to the Barber.

  • Williams Previn Rózsa Film Score Gods

    Williams Previn Rózsa Film Score Gods

    I’m not sure, exactly, that this is the Holy Trinity of Film Composers, but I might just risk damnation to worship at their altar. Left to right: John Williams, André Previn, and Miklós Rózsa.

    Enjoy a full hour of Previn’s film scores on “Picture Perfect,” this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.

  • André Previn Hollywood’s Musical Genius

    André Previn Hollywood’s Musical Genius

    Before André Previn became an acclaimed conductor of symphonies, he stood before some of the greatest sight-readers in the world, who made up the Hollywood studios’ crackerjack orchestras. From Lassie to “My Fair Lady” to “Rollerball,” Previn worked on over 50 films.

    He was nominated for 11 Academy Awards, and won four – in 1958, 1959, 1963 and 1964. He is one of the few composers to be recognized with back-to-back Oscars, and only one of two to have been so twice.

    This week on “Picture Perfect,” we’ll focus on this comparatively neglected aspect of a supremely talented musical polymath, through selections from his scores to “The Four Horsemen of the Apocalypse,” “Irma la Douce,” “Dead Ringer,” and “Elmer Gantry.”

    Previn’s Hollywood career began when he was still in high school, as he was brought in by his great uncle, Charles Previn, one-time music director for Universal Studios, to transcribe jazz improvisations for José Iturbi. Soon young André was writing and recording his own scores. His first official screen credit was for “The Sun Comes Up,” an entry in the Lassie series, in 1949. The same year, he scored “Challenge to Lassie.”

    He went on to compose music for “Kim,” “Bad Day at Black Rock,” “The Fastest Gun Alive,” “Designing Woman,” “The Subterraneans,” “Long Day’s Journey into Night,” and “Inside Daisy Clover,” among others. He won Oscars for his work on “Gigi,” “Porgy and Bess,” “Irma la Douce,” and “My Fair Lady.”

    I hope you’ll join me for André Previn at the movies, this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.


    PLEASE NOTE: Of perhaps related interest, I’ll be sharing an hour of Previn’s concert works on “The Lost Chord,” this Sunday night at 10:00 EDT.


    Regardless of what the Academy would have us believe, the notorious Best Picture snafu of 2017 was not the first time such a mix-up occurred. Here’s an earlier episode that momentarily delayed Previn from collecting his third Oscar, well-fielded by Sammy Davis, Jr.

    Note the other nominees in both categories and weep over just how far civilization has declined in the past 50 years.


    PHOTO (left to right): André Previn, Sammy Davis, and Elmer Bernstein

  • Why I Ditched Smartphones Ravel Would Understand

    Why I Ditched Smartphones Ravel Would Understand

    Anyone who knows me knows that I don’t own a smartphone. Why would I keep a phone that would only make me look dumb (as when I try to type on somebody else’s using that impossibly tiny “keyboard”)?

    But yesterday, as I was driving on I-95, I passed a sign that said something along the lines of “TRAVEL DELAYS POSSIBLE.” Only the “T” was burnt out. As today is the birthday of Maurice Ravel, I am doubly sorry not to have been able to document it. Then again, I could have wound up like one of those idiots who stands too close to the edge of the Grand Canyon in order to get the perfect selfie.

    Ravel was fascinated by gadgets and lived as a semi-recluse. In all likelihood, he would have been transfixed by the smartphone. But if he had been, I’ll bet he wouldn’t have accomplished as much as he did. He would have had a hell of a Facebook page, though.

    Happy birthday, Maurice Ravel.


    PHOTO: If I owned a smartphone, it would look just like this.

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