André Previn may well have been the last of the great 20th-century American musical eclectics, the artists who, in the heady post-World War II cultural moment, could — and did — have it all. Mr. Previn, who died on Thursday at 89, made a mark on Broadway and in Hollywood, on the classical concert stage and in the jazz club, in pop songs and violin concertos.
[Read the Times obituary for Mr. Previn.]
He did more than dabble: In all those many modes, he was always plausible, and often inspired. And he did more than merely perform. Like Leonard Bernstein, who Mr. Previn idolized and in some ways echoed, he was a great popularizer, a figure who gave the sense that it was possible to know about, and even love, everything — grand and intimate, high art and low.
Figures like him are uniquely difficult to get your head — and ears — around. So writers for The New York Times have chosen a small sampling of the myriad angles of Mr. Previn and his dazzling career.
When a young Mr. Previn conducted symphony orchestras, he was known to show the verve and boyish enthusiasm of a pop star. It balanced out the other way: Performing lighter fare on TV, he carried himself with a rarefied swagger. Witness it in this 1961 clip, as he performs syrupy arrangements from recent films he’s scored, including an easygoing “Bess, You Is My Woman Now” from “Porgy and Bess.” Mr. Previn cultivated a rakish, rebellious public image, but his most widely heard music sounded like the status quo. GIOVANNI RUSSONELLO
Mr. Previn may not have been a jazz innovator, but he was an alert and agile player. He turned “My Fair Lady” into a jazz recording, and brought out the swing in Doris Day. Even Dizzy Gillespie was a fan. “He has the flow, you know, which a lot of guys don’t have and won’t ever get,” Gillespie said. ZACHARY WOOLFE
I discovered Mr. Previn’s easy-listening albums of the 1960s via that genre’s revival in the 1990s. His soundtrack for “Valley of the Dolls” remains a high-water mark — especially the theme, which he wrote with his second wife and regular collaborator, Dory Previn. The languid melody and arrangements wrap the aching lyrics in shimmery chiffon: This is the wistful sound of the other 1960s, when you realized dreams were not all they were cracked up to be. ELISABETH VINCENTELLI
I once heard Mr. Previn talk self-deprecatingly about “working in a plantation called MGM Studios writing reams of music, which were kinds of encyclopedias of bad taste,” before he made the leap to the concert hall as a conductor and composer. So there is something charming about watching him conduct the London Symphony Orchestra in music a great composer originally wrote for film: Prokofiev’s “Lieutenant Kijé” Suite. Here Mr. Previn summons all the color and drive that has long made him one of my go-to conductors for recordings of Prokofiev’s ballets — especially “Romeo and Juliet” and my personal favorite, “Cinderella.” MICHAEL COOPER
Some more Russian music, for which Mr. Previn had a special affinity: the finale of Shostakovich’s Symphony No. 5, in which he keeps the Chicago Symphony on a thrillingly tight leash that nevertheless allows for wondrous lyrical expansion. ZACHARY WOOLFE
The end of the marriage between Mr. Previn and the violinist Anne-Sophie Mutter didn’t halt what had become a rich creative collaboration and close friendship. In a statement after his death, Ms. Mutter said that one of the first pieces he wrote for her, a violin concerto from 2001, was “an engagement present,” and the lush, sensitive orchestral writing lovingly shows off her rich tone, an elegant setting for a precious diamond. ZACHARY WOOLFE
I’ll never forget hearing Mr. Previn in his jazz pianist mode, accompanying Renée Fleming in a recital at Alice Tully Hall in 2000. He backed her in songs by Arlen, Ellington and Van Heusen, and his playing was inventive, stylish and supremely musical. They also performed a remarkable song, “The Giraffes Go to Hamburg,” Mr. Previn’s setting of a rueful passage from an Isak Dinesen memoir about two captured giraffes on a cargo steamer bound for Hamburg. The song, which imaginatively adds a solo flute to the mix of voice and piano, is really an 11-minute dramatic monologue, rendered with harmonically tart, shifting and effectively understated music. ANTHONY TOMMASINI
I can’t say I thought much of Mr. Previn’s operatic adaptation of “A Streetcar Named Desire” when it was new, in the late 1990s. But when I saw a semi-staged production in 2014 — starring Fleming, its original Blanche — it struck me as sensitive, articulate and sophisticated. “I Want Magic,” Blanche’s sumptuous dream of an aria, lent the title to Ms. Fleming’s memorable (if uneven) album of American opera arias. ZACHARY WOOLFE
088期一语中特跑狗图【易】【水】【寒】【没】【言】【语】，【跟】【着】【随】【后】【而】【来】【的】【华】【秉】【天】【进】【了】【二】【楼】【书】【房】。 【华】【秉】【天】【习】【惯】【性】【的】【递】【给】【易】【水】【寒】【烟】，【说】：“【三】【嫂】【回】【来】【了】，【心】【里】【不】【慌】【了】【吧】？” 【易】【水】【寒】【摆】【摆】【手】，【嘴】【角】【勾】【起】，【随】【性】【的】【坐】【下】【了】。 【华】【秉】【天】【诧】【异】，“【怎】【么】【了】？” 【这】【些】【年】，【易】【水】【寒】【习】【惯】【了】【抽】【烟】，【带】【的】【他】【也】【上】【了】【瘾】，【今】【天】【难】【得】【的】【拒】【绝】，【有】【些】【出】【乎】【华】【秉】【天】【意】【料】。 “【不】
【午】【睡】【了】【一】【觉】，【苏】【锦】【昭】【想】【起】【做】【了】【一】【半】【的】【女】【红】，【便】【让】【巧】【慈】【拿】【了】【出】【来】。 【巧】【慈】【看】【了】【看】，【也】【没】【看】【出】【个】【所】【以】【然】【来】，【于】【是】【好】【奇】【的】【问】【道】:“【小】【姐】，【你】【这】【是】【做】【的】【什】【么】【啊】？” 【苏】【锦】【昭】【边】【穿】【针】【引】【线】【边】【说】【道】:“【我】【看】【三】【皇】【子】【的】【枕】【头】【有】【些】【硬】【了】，【睡】【觉】【不】【是】【很】【舒】【服】，【打】【算】【给】【你】【做】【个】【软】【一】【点】【的】，【就】【当】【打】【发】【时】【间】【了】。” 【巧】【慈】【忍】【不】【住】【笑】【说】【道】:“【小】
【羊】【人】？ 【黑】【夜】【一】【族】？ 【众】【人】【先】【是】【愣】【了】【愣】，【这】【才】【想】【起】【他】【们】【到】【底】【是】【来】【干】【嘛】【的】【了】，【之】【前】【被】【李】【清】【华】【的】【脑】【洞】【这】【么】【一】【打】【岔】，【完】【全】【忘】【了】【这】【回】【事】【儿】【啊】！ 【对】【啊】，【那】【群】【顶】【着】【羊】【头】【的】【怪】【物】【都】【跑】【去】【哪】【了】？！ 【环】【顾】【着】【周】【围】【的】【城】【镇】【废】【墟】，【感】【受】【着】【风】【声】【穿】【过】【石】【缝】【木】【板】【传】【来】【的】【呜】【咽】，【苏】【小】【茜】【不】【由】【得】【缩】【了】【缩】【脖】【子】：“【你】【们】【有】【没】【有】【发】【现】【这】【里】【安】【静】【得】【有】
【第】414【章】【分】【而】【灭】【之】 “【那】【好】，【你】【把】【他】【交】【给】【我】，【这】【么】【好】【的】【人】【选】，【正】【好】【拿】【来】【做】【实】【验】，【不】【能】【浪】【费】【了】。” 【禹】【无】【渊】【的】【实】【验】【已】【经】【进】【入】【了】【瓶】【颈】【期】，【在】【凌】【汐】【看】【来】，【根】【本】【就】【是】【误】【入】【歧】【途】。 【他】【现】【在】【选】【择】【的】【大】【部】【分】【都】【是】【本】【身】【修】【为】【和】【资】【质】【比】【较】【高】【的】，【而】【且】【意】【志】【力】【坚】【定】，【几】【乎】【已】【经】【摒】【弃】【了】【那】【些】【普】【通】【人】。 【迄】【今】【为】【止】，【实】【验】【者】【中】【还】【没】【有】【一】
【也】【正】【是】【因】【为】【这】【样】，【这】【座】**【的】【人】【们】，【虽】【然】【知】【道】【会】【有】【一】【名】【大】【人】【降】【临】，【但】【却】【不】【知】【道】【陈】【宇】【的】【身】【份】。 【就】【连】【消】【息】【最】【为】‘【灵】【通】’【的】【麻】【衣】【老】【者】，【也】【只】【知】【道】【陈】【宇】【成】【为】【精】【英】【弟】【子】【的】【事】【情】，【关】【于】【宗】【门】【试】【炼】，【甚】【至】【陈】【宇】【成】【为】【亲】【传】【弟】【子】【的】【事】【情】，【都】【一】【概】【不】【知】。 【所】【以】，【他】【们】【才】【会】【猜】【测】【着】【陈】【宇】【的】【身】【份】，【现】【在】【陈】【宇】【忽】【然】【带】【着】【足】【足】【七】【个】【圣】【境】【降】【临】，【而】088期一语中特跑狗图【前】【两】【件】【事】【都】【被】【人】【挖】【了】【出】【来】，【而】【最】【后】【一】【件】【事】，【两】【位】【当】【事】【人】【都】【没】【有】【泄】【露】，【搞】【得】【众】【弟】【子】【抓】【心】【挠】【肺】【的】。 【若】【是】【仅】【仅】【这】【般】，【箫】【寒】【还】【不】【至】【于】【有】【如】【此】【高】【的】【威】【势】。 【那】【次】【的】【银】【榜】【排】【位】【赛】，【箫】【寒】【的】【修】【为】【只】【是】【八】【阶】【灵】【修】，【而】【原】【银】【榜】【第】【一】，【传】【闻】【即】【将】【要】【突】【破】【十】【阶】。 【这】【般】【看】【来】【实】【力】【相】【当】【悬】【殊】【的】【两】【人】，【结】【果】【却】【是】【恰】【恰】【相】【反】【的】，【怎】【能】【不】【令】【人】【震】【惊】
【第】【二】【日】【清】【晨】，【鹿】【王】【晗】【按】【时】【前】【来】【摘】【星】【楼】【学】【习】，【齐】【清】【涟】【也】【早】【早】【地】【在】【摘】【星】【楼】【等】【候】。 【眼】【看】【着】【两】【月】【之】【期】【已】【然】【过】【去】【了】【大】【半】，【时】【间】【早】【已】【来】【不】【及】，【再】【说】【这】【一】【次】【授】【课】【不】【过】【就】【是】【为】【了】【测】【试】【这】【三】【人】【的】【慧】【根】【罢】【了】，【在】【授】【课】【的】【过】【程】【中】，【她】【心】【里】【也】【有】【个】【数】，【是】【故】【齐】【清】【涟】【便】【只】【根】【据】【三】【人】【的】【特】【长】【授】【课】。 【譬】【如】【这】【鹿】【王】【晗】，【为】【人】【着】【实】【通】【透】，【又】【智】【近】【如】【妖】，
【十】【月】【一】【日】，【本】【书】【终】【于】【在】【一】【个】【如】【此】【喜】【庆】【的】【日】【子】【里】，【迎】【来】【了】【结】【束】。 【这】【是】【第】【二】【次】【完】【结】【感】【言】，【也】【是】【真】【真】【正】【正】【的】【完】【结】【感】【言】。 【至】【于】【上】【一】【次】【的】，【主】【要】【目】【的】【是】【劝】【大】【家】【不】【要】【继】【续】【看】【下】【去】【了】，【因】【为】【后】【面】【十】【几】【万】【字】，【都】【是】【洪】【荒】【巨】【水】，【不】【想】【浪】【费】【大】【家】【的】【订】【阅】【钱】$_$ 【这】【本】【书】，【一】【共】【一】【百】【二】【十】【万】，【写】【了】【将】【近】【一】【年】。 【毫】【无】【疑】【问】，【本】【书】【扑】