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People who don't do jazz think it's black magic. But really, it's just a matter of getting used to
People who don't do jazz think it's black magic. But really, it's just a matter of getting used to
People who don't do jazz think it's black magic. But really, it's just a matter of getting used to
People who don't do jazz think it's black magic. But really, it's just a matter of getting used to
People who don't do jazz think it's black magic. But really, it's just a matter of getting used to
People who don't do jazz think it's black magic. But really, it's just a matter of getting used to
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Andre Previn:
I've had the healthy and sobering experience of constantly working with music that is invariably beAndre Previn:
I remain extraordinarily proud of the Vaughan Williams symphonies I recorded with the LSO, and in tAndre Previn:
There's a small group of music critics in the States who will forgive you anything - jazz, a long pAndre Previn:
I don't ever consciously change gears when I play jazz or classical. It's all music.Andre Previn:
Music critics have made it quite clear that any composer who ever contributed a four-bar jingle toAndre Previn:
The thing is that I'm naturally curious about a lot of different disciplines in music, and I enjoyAndre Previn:
It's been thrown up to me most of my life: Why don't I just concentrate on conducting or composingAndre Previn:
I used to set myself little challenges to make the work more interesting.Andre Previn:
I absolutely insist upon adequate rehearsal time - particularly for the pieces that orchestras knowJames D. Watson:
Take young researchers, put them together in virtual seclusion, give them an unprecedented degree o