SteveMc

Elegy For Cello And Orchestra (1997)
Williams wrote this piece out of tragedy, the death of the children of a violinist he was acquainted with.  The work is classical in nature and structure, definitely lyrical and romantic in style, directly lifting a secondary theme from his film score Seven Years In Tibet and putting the heartfelt melody through development and soloist motion.
The overall effect is quite beautiful and more overt and immediate than perhaps all of Williams's concert works.
Originally, the work was written and performed for cello and piano.  It feels quite different here, perhaps a bit more pained and focused than the richer orchestral version.
A couple of performances of this iteration are here:
 
Williams expanded the piece for full orchestra and recorded it with Yo Yo Ma in 2002, with this becoming the definitive version of the piece.  It is remarkably lush, yet restrained.  
 
 
This is one of Williams's works that will probably find itself permanently in the regular repertoire.   

Elegy For Cello And Orchestra (1997)
Williams wrote this piece out of tragedy, the death of the children of a violinist he was acquainted with.  The work is classical in nature and structure, definitely lyrical and romantic in style, directly lifting a secondary theme from his film score Seven Years In Tibet and putting the heartfelt melody through development and soloist motion.
The overall effect is quite beautiful and more overt and immediate than perhaps all of Williams's concert works.
Originally, the work was written and performed for cello and piano.  It feels quite different here, perhaps a bit more pained and focused than the richer orchestral version.
A couple of performances of this iteration are here:
 
Williams expanded the piece for full orchestra and recorded it with Yo Yo Ma in 2002, with this becoming the definitive version of the piece.  It is remarkably lush, yet restrained.  
 
 
This is one of Williams's works that will probably find itself permanently in the regular repertoire.   

Elegy For Cello And Orchestra (1997)
Williams wrote this piece out of tragedy, the death of the children of a violinist he was acquainted with.  The work is classical in nature and structure, definitely lyrical and romantic in style, directly lifting a secondary theme from his film score Seven Years In Tibet and putting the heartfelt melody through development and soloist motion.
The overall effect is quite beautiful and more overt and immediate than perhaps all of Williams's concert works.
Originally, the work was written and performed for cello and piano.  It feels quite different here, perhaps a bit more pained and focused than the richer orchestral version.
A couple of performances of this iteration are here:
 
Williams expanded the piece for full orchestra and recorded it with Yo Yo Ma in 2002, with this becoming the definitive version of the piece.  It is remarkably lush, yet restrained.  
 
 
This is one of Williams's works that will probably find itself permanently in the regular repertoire.   

Trumpet Concerto (1996)

The Trumpet Concerto is one of Williams's most mature and fully realized concert works.  There is a focus here in direction that makes it perhaps the most traditionally and straightforwardly structured of his concerti.  At the same time, it furthers Williams's personal compositional goal of a kind of modern romanticism, blended here with a unique rhythmic sense and some echoes of Americana. 
 
The concerto is in three movements.
The first, Maestoso, opens with a rousing interval based theme for the soloist, with the orchestra backing and helping build anticipation that leads to a resolute theme for the brass followed by the soloist going through rhythmic and quasi-lyrical motions, culminating in a more clearly lyrical if not quite melodic passage.  This emphasis on shifting motion and direction characterizes the rest of the movement, as the motives and colors set forth in the introduction are explored thoroughly, yet efficiently.  After a stirring orchestral high point, the soloist returns and, with the orchestra, sets a new pace, returns to the opening fanfare motive to introduce a cadenza with continued reference and development of the central motifs.  Originally, the typical quiet JW first movement ending rounded out the movement, dissolving into the second, but the 2018 revision saw Williams change this in favor of the orchestra returning for a definite and forceful conclusion.
 
The second movement, marked Slowly, is full of lyrical mystery and contemplation.  The opening is mysterious, with trumpet weaving through a unique orchestral and percussive backdrop.  The principal theme is then introduced by the trumpet on a bed of strings, which proceeds to weave around the strings and woodwinds.  A secondary thematic thread consists of a figure for the winds and a new lyrical theme for the trumpet, which leads to a return of the strings, first in pizzicato, then outright for a poignant passage where they restate the principal theme, which has a few shades of Rozsa to my ears in the melodic contour, with the overall treatment being unmistakably Williams.  A faster section for trumpet and flute follows and leads to another restatement of the main theme and a coda with a quasi-cadenza element.  
 
The third movement, Allegro-deciso, is the most freely formed of the three.  Thematic motifs are brief musical bursts and orchestral interjections.  Broadly, there are alternating fast and jagged clusters and longer lined interludes for structure.  The rhythmic vitality, even in those interludes, is strong.  Yet, there is seemingly an increasing hurried formality as the movement goes on, as if the music is realizing it has to be going and is politely making its exit, closing the door rather suddenly still.
 
The piece was written for Cleveland Orchestra principle trumpet Michael Sachs, although Sachs has not recorded the work despite having performed it on a number of occasions. 
 
The first recording was with Ron Feldman conducting Arturo Sandoval and the London Symphony.  This was the first version I heard and for many years I disliked the concerto because of it.  I found Sandoval's tone too harsh and unchanging and Feldman's direction too jagged.  The second movement interested me, (Sandoval does show adroitness here) but I felt it lacked something.  Nevertheless, this interpretation is not afraid to let a certain raw power in the concerto run free.
 
The interpretation that made me realize the beauty and integrity of the concerto was that of Jouko Harjanne and the Finnish Radio Orchestra.  Harjanne does not sacrifice too much of the concerto's power and unique elements, but he better brings out its neoromantic, heroic and even American nature amidst the interpretation's general cosmopolitan feel.  There is a classical touch to the string approach, and an almost playful creativity for some of the passages for solo trumpet.  I do not think this version was too much revised from the original released version, but it certainly feels like a fresh piece.  I still revisit Harjanne's take regularly.  
 
Finally, for what in my estimation the definitive version and recording of the work.  Williams conducting LA Phil principle Thomas Hooten and the Recording Arts Orchestra of LA.  Williams revised the piece, adding color and cohesion in the orchestration and some structural changes, like the aforementioned resolved ending of the first movement which was first written for and heard in a performance of the movement with Hooten and the Marine Band.  
The story of how this recording came to be is well documented here on JWFan, including by Hooten himself.
 
I can't remember exactly, but I think I contributed a little to the Kickstarter for the project, as many of us in this community did, so it feels good to have been a small part of doing this wonderful piece of American classical music justice.
 
Here is the recording:
 
And here is an academic piece that goes into far more detail about the piece than I could ever dream of doing:
https://scholarship.miami.edu/esploro/outputs/doctoral/A-Performers-Guide-to-Concertos-for/991031447862802976

Trumpet Concerto (1996)

The Trumpet Concerto is one of Williams's most mature and fully realized concert works.  There is a focus here in direction that makes it perhaps the most traditionally and straightforwardly structured of his concerti.  At the same time, it furthers Williams's personal compositional goal of a kind of modern romanticism, blended here with a unique rhythmic sense and some echoes of Americana. 
 
The concerto is in three movements.
The first, Maestoso, opens with a rousing interval based theme for the soloist, with the orchestra backing and helping build anticipation that leads to a resolute theme for the brass followed by the soloist going through rhythmic and quasi-lyrical motions, culminating in a more clearly lyrical if not quite melodic passage.  This emphasis on shifting motion and direction characterizes the rest of the movement, as the motives and colors set forth in the introduction are explored thoroughly, yet efficiently.  After a stirring orchestral high point, the soloist returns and, with the orchestra, sets a new pace, returns to the opening fanfare motive to introduce a cadenza with continued reference and development of the central motifs.  Originally, the typical quiet JW first movement ending rounded out the movement, dissolving into the second, but the 2018 revision saw Williams change this in favor of the orchestra returning for a definite and forceful conclusion.
 
The second movement, marked Slowly, is full of lyrical mystery and contemplation.  The opening is mysterious, with trumpet weaving through a unique orchestral and percussive backdrop.  The principal theme is then introduced by the trumpet on a bed of strings, which proceeds to weave around the strings and woodwinds.  A secondary thematic thread consists of a figure for the winds and a new lyrical theme for the trumpet, which leads to a return of the strings, first in pizzicato, then outright for a poignant passage where they restate the principal theme, which has a few shades of Rozsa to my ears in the melodic contour, with the overall treatment being unmistakably Williams.  A faster section for trumpet and flute follows and leads to another restatement of the main theme and a coda with a quasi-cadenza element.  
 
The third movement, Allegro-deciso, is the most freely formed of the three.  Thematic motifs are brief musical bursts and orchestral interjections.  Broadly, there are alternating fast and jagged clusters and longer lined interludes for structure.  The rhythmic vitality, even in those interludes, is strong.  Yet, there is seemingly an increasing hurried formality as the movement goes on, as if the music is realizing it has to be going and is politely making its exit, closing the door rather suddenly still.
 
The piece was written for Cleveland Orchestra principle trumpet Michael Sachs, although Sachs has not recorded the work despite having performed it on a number of occasions. 
 
The first recording was with Ron Feldman conducting Arturo Sandoval and the London Symphony.  This was the first version I heard and for many years I disliked the concerto because of it.  I found Sandoval's tone too harsh and unchanging and Feldman's direction too jagged.  The second movement interested me, (Sandoval does show adroitness here) but I felt it lacked something.  Nevertheless, this interpretation is not afraid to let a certain raw power in the concerto run free.
 
The interpretation that made me realize the beauty and integrity of the concerto was that of Jouko Harjanne and the Finnish Radio Orchestra.  Harjanne does not sacrifice too much of the concerto's power and unique elements, but he better brings out its neoromantic, heroic and even American nature amidst the interpretation's general cosmopolitan feel.  There is a classical touch to the string approach, and an almost playful creativity for some of the passages for solo trumpet.  I do not think this version was too much revised from the original released version, but it certainly feels like a fresh piece.  I still revisit Harjanne's take regularly.  
 
Finally, for what in my estimation the definitive version and recording of the work.  Williams conducting LA Phil principle Thomas Hooten and the Recording Arts Orchestra of LA.  Williams revised the piece, adding color and cohesion in the orchestration and some structural changes, like the aforementioned resolved ending of the first movement which was first written for and heard in a performance of the movement with Hooten and the Marine Band.  
The story of how this recording came to be is well documented here on JWFan, including by Hooten himself.
 
I can't remember exactly, but I think I contributed a little to the Kickstarter for the project, as many of us in this community did, so it feels good to have been a small part of doing this wonderful piece of American classical music justice.
 
Here is the recording:
 
And here is an academic piece that goes into far more detail about the piece than I could ever dream of doing:
https://scholarship.miami.edu/esploro/outputs/doctoral/A-Performers-Guide-to-Concertos-for/991031447862802976

https://now.bso.org/details/26930?playlist_id=45
 
Here is the link to the BSO now video recording of the Sunday concert. Naturally, the Williams/ Mutter section is completely cut out, with only him conducting the Imperial March as the encore.

Today marks a very important anniversary.  It is the 75th anniversary of the premiere of Aaron Copland's Third Symphony; first performed on October 18th, 1946, by Serge Koussevitzky and the Boston Symphony.
 
If you know me at all, then you know that no music ever written is as personally important to me as Copland's 3rd.  It is the most joyful, spirit-lifting, transcendent, humanistic music I have ever heard and I feel lucky to live in a world where I can listen to it.  I'm also lucky that over this last decade the original version as premiered in 1946, before Leonard Bernstein made an ill-advised cut of 12 measures, has become the default version to perform and record for most orchestras.
 
Because I'm nothing if not a giant nerd, I'm one of the maintainers of the Wiki page for the symphony, mostly managing the discography section . https://en.wikipedia.org/wiki/Symphony_No._3_(Copland)
 
I really can't see any recording every dethroning Leonard Slatkin leading the Detroit Symphony for me.   I don't think any recording has ever captured the giant beating heart of this piece as well.  I'm very grateful that I got to see Slatkin perform the symphony in concert with the National Symphony just a couple of months before the Covid hammer came down.
 
 

 
It was a very weird program for the premiere weekend back in 1946
 

 
And here are the program notes from the original 1946 program (the Boston Symphony archives is just the coolest website)
 

A choir and roof raising performance of his Gloria.
 
Or maybe he'll rearrange Thomas and the King into an opera.

After the concert, at the hotel: "Are they still clapping?"
 

I think also there might be season ticket holders who aren’t interested in John. There was a lady sat next to us on Thursday who was utterly baffled by the concept of a film music concert. But by the end she was loving it. 

Yeah, we're all just glowing with excitement.
Vienna was amazing too, and I think maybe their CE3K was better than Berlin's, but Berlin was just so passionate.  Vienna had grandeur, Berlin felt like a night of vindication.    

Yeah, we're all just glowing with excitement.
Vienna was amazing too, and I think maybe their CE3K was better than Berlin's, but Berlin was just so passionate.  Vienna had grandeur, Berlin felt like a night of vindication.    

Pretty epic. Would be nice if JW came back to mingle with the faithful 

Pretty epic. Would be nice if JW came back to mingle with the faithful 

Bet he’s already in the hotel alseep

I think the city regs call for a particular mask type for these kinds of events.

Hi! Some of you may know that Eddie Karam was Williams's trusty orchestrator for a long time. Karam gave a talk in 2013 for The Academy of Scoring Arts where he discussed his life in music, his work with various composers (Williams, Mandel, Horner, etc.), and gave some very funny anecdotes. I don't think a thread about this video has been made before, so here are the comments he made regarding Williams.
 
Meeting John Williams:
 
 
Orchestrating Williams's music:
 
 
Dividing work between himself and Conrad Pope:
 
 
"Crystal Skull" story
 
 

Absolutely brilliant today!!  Even though they skipped Luke and Leia, they definitely gave their absolute best. Hopefully tmr will have something special for the last show in Berlin 

What a fantastic photo! 
 

 
He looks like a proud dad 

Different Jim 😊 no apology necessary.
 
what a great evening. John on fantastic form, and the orchestra sounded great. Lots of smiles amongst them. Privileged to have been here. 

My barcode wouldn’t scan, on either the pdf I’d saved or the version I’d saved to my “wallet” on my iPhone. But my girlfriend’s scanned fine 🤷🏻‍♂️ But it didn’t cause a problem in terms of gaining entry. They could see I had the covid pass, and that the name matched my photo ID. 

Did I catch you?

Some interesting points from a radio interview this evening with Andrea Zietzschmann, General Manager of Berliner Philharmoniker:
BerlinPhil tried for a few years to get Williams to do a project together in "Waldbühne" stage (https://www.waldbuehne-berlin.de/en/) but it didn't work out because of scheduling conflicts. Says they tried to get him to conduct subscription concerts instead. Is happy to have him, at almost 90 years, conduct BerlinPhil, especially because he hasn't really conducted in Europe before, except Vienna. When asked about the atmosphere in the rehearsals: says it was Williams' wish to conduct the BerlinPhil, that he is very curious and interested about Berlin as it's his first time in the city; Appreciates Williams as great human and artist, many musicians know his filmscores and associate some kind of life experience with his music; that it is a special experience (to have him personally conduct etc.) for all involved. About a potential album release: says they're currently thinking about how to release it (mentions CD, Digital Concert Hall, and the radio broadcast); says they hope that they can release something for a large audience. https://www.rbb-online.de/rbbkultur/radio/programm/schema/sendungen/der_tag/archiv/20211014_1600/kultur_aktuell_1610.html
Direct .mp3-download of the interview: https://rbbmediapmdp-a.akamaihd.net/content/9c/58/9c58d3b6-e875-45f5-ab59-c7d7a8cc0d0e/776be749-8813-43ac-8d67-03f6d3e51214_0a471277-09af-463f-9e32-29e5a5f05780.mp3
 
Radio broadcast on Saturday: https://www.rbb-online.de/rbbkultur/radio/programm/schema/sendungen/berliner_philharmoniker/archiv/20211016_2000.html
 
 
So I guess it's pretty much confirmed (at least very likely) that we'll get some kind of audio release. Look at all the microphones in @GlastoEls photos Can't wait for Saturday

I sat in the first row next to his entrance. When he came in he winked at me. Best. Day. Ever. 

Incredible.