By RICK MASTERS

André Previn (right) poses with Jonathan Feldman after Previn’s collaborative piano master class on April 9. (Photo by Huang Ruo)

André Previn arrived at Juilliard the morning of April 9, putting the Juilliard Orchestra through its paces in a reading of Richard Strauss’s Sinfonia Domestica. After the rehearsal, Maestro Previn joined Jonathan Feldman and his collaborative piano studio for lunch in the boardroom.

Previn is a slight man, soft-spoken and avuncular in manner; meeting him, one can hardly believe that he has led major symphony orchestras, been given a place in Phillips’s Great Pianists of the 20th Century recording series, and composed award-winning music for film, opera, and the concert hall, among other accomplishments.

Over lunch, Maestro Previn discussed his multifaceted career, covering almost every aspect of his life as a pianist, composer, and conductor. He is an excellent raconteur, and it’s difficult to recount the luncheon without including a choice story. Perhaps the most infamous tale in the Previn canon is the conductor’s encounter with the legendary George Szell, the austere leader of the Cleveland Orchestra.

Previn was to perform the Strauss Burleske with Szell, who requested a piano rehearsal before meeting with the orchestra. Arriving at Szell’s hotel, Previn was ushered into the room and immediately asked to play. Previn looked around the room. “But, Maestro … there is no piano.” “Play it on the tabletop.” Incredulous, Previn sat down and began to finger the work on the table. Szell interrupted. “It’s too slow, much too slow.” “Well, Maestro,” Previn replied, “I don’t know this tabletop: on my tabletop at home, I can play it twice as fast.” Szell glared at him and showed him the door, grumbling, “That’s not funny.”

In addition to his excellent stories, Previn told the students about his forthcoming opera, based on Noel Coward’s cinematic tale of doomed love, Brief Encounter. Violinist Anne-Sophie Mutter, Previn’s former wife, watched the film with him several years ago, and in tears at the close, exclaimed, “You must set this!” With a libretto by Old Vic director John Caird, the opera was finished last month; the work will be premiered by the Houston Grand Opera in May 2009.

Previn discussed his experience as a Hollywood film composer and his decision to leave Hollywood for London (“Why am I standing here discussing the merit of my musical ideas with a man whose lips move when he reads?”), his love for different concert halls (Vienna and Boston are his favorites), as well as his interest in contemporary composers such as John Harbison, Steven Stucky, and others. Previn’s advice for aspiring musicians? Play as much chamber music as possible, sight-read often, and most importantly, take every performing opportunity available to you. No opportunity is too small; if you play often and play well, you’ll find yourself with the beginnings of a good career.

After lunch, Maestro Previn conducted a master class of his own works. Violinist Jae-Yeon Jennifer Kim and pianist Joel Ayau performed Previn’s sultry Tango Song and Dance, eliciting plaudits from the appreciative composer. Ms. Kim’s burnished tone and Mr. Ayau’s rhythmic verve suited the work well, and the composer had little to say, other than remarking on several small details regarding tempo and articulation.

Tenor Michael Kelly, cellist Yves Dharamraj, and pianist Jessica Chow performed two of the songs from Previn’s song cycle The Four Songs, with texts by Toni Morrison. Maestro Previn remarked during lunch that Ms. Morrison is a “serious person,” and this seriousness of manner was certainly evident in her lush yet thoughtful poetry. Previn congratulated Mr. Kelly, saying that “I’ve never heard them sung any better than you did.” He also approved of Kelly’s octave transposition in one passage, a change Kelly had been apprehensive in making. The Vocalise with the same performers fared equally well, featuring sensitive playing by Ms. Chow and a particularly impassioned performance from Mr. Dharamraj.

Kudos to Jonathan Feldman for arranging Maestro Previn’s visit, as well as lining up such a wonderful group of performers for the master class. It was a fine way to spend a cold April afternoon, one that won’t be forgotten soon by any of the participants.

Rick Masters is a master’s student in collaborative piano.