How a teenage refugee became a titan of Hollywood, jazz, and classical music
In short: André Previn fled Nazi persecution as a child, only to become a Hollywood wunderkind by his teens. He eventually walked away from a lucrative film career to gamble on his talent as a conductor, ultimately mastering three distinct musical worlds and earning accolades across every major stage of his life.
Born in Berlin in 1929, Previn was a child prodigy who enrolled at the Berlin Conservatory at age six. His family escaped Nazi Germany in 1938, eventually settling in Los Angeles. By the 1940s, the teenage Previn was already working for Metro-Goldwyn-Mayer, where he was valued for his speed and affordability. He spent 16 years at the studio, contributing to over 50 films and winning four Academy Awards for scores including My Fair Lady and Gigi.
Despite his success in cinema, Previn felt increasingly restricted by the studio system. In 1951, while serving in the U.S. Army, he began formal conducting studies with Pierre Monteux, a pivotal experience that fueled his desire to transition into the classical world. He eventually resigned from his secure MGM contract at age 32, a move he described as a gamble on his own potential. This pivot led to a distinguished career as a conductor for major orchestras, including the London Symphony and the Los Angeles Philharmonic.
Previn’s versatility was rare; he remained a celebrated jazz pianist throughout his life while simultaneously composing operas and concerti. His 1977 collaboration with Tom Stoppard, Every Good Boy Deserves Favour, showcased his ability to weave complex political themes into his musical language. By the time he was honored with a knighthood in 1996 and a Kennedy Center Honor in 1998, he had cemented a legacy that spanned the Great American Songbook, the silver screen, and the world's most prestigious concert halls.
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Sources
- Summary by Intellect · source: André Previn | Jazz pianist, conductor, arranger, film composer | Britannica
- Also: André Previn
- Also: THE CONCEPT OF TOTALITARIANISM AND THE PRINCIPLES OF ITS MUSICAL EMBODIMENT IN EVERY GOOD BOY DESERVES FAVOUR BY TOM STOPPARD AND ANDRÉ PREVIN
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