Coffee Talk: July 29,2009

[Jeshopk 8]

http://oybay.files.wordpress.com/2006/07/snl101myersrichman010704.jpg

First in a series of weekly, biweekly, or monthly John Williams talks. I'll yield to the first commenter before giving my opinion.

First topic:

Williams' love of trees: banal or profound? Discuss.

[Neimoidian 15]

Given the quality of his compositions devoted to trees (and growing number of them) I would say profound.

[Wojo 2,458]

I have a mental block. All I can think of is the Rush song about trees.

[Ollie 1,375]

Given the quality of his compositions devoted to trees (and growing number of them) I would say profound.

Yes I agree.

[Hlao-roo 390]

It's a love-hate relationship. I suspect that Williams, a self-described "pencil-and-paper man," goes through far more trees than his more computer savvy contemporaries.

[Ollie 1,375]

Hmm, perhaps I need to rethink my opinion. It's possible he feels some guilt contributing to their demise. Perhaps the compositions are his way of easing the mind.

[Jill Sandwich 11,166]

They went to a good cause.

[Wojo 2,458]

As long as Williams continues to write compositions that use violins, violas, cellos, string bass, clarinets, saxophones, bassoons, oboes, and drums, he is contributing to the senseless demise of trees. Trumpets, trombones, tubas, horns, flutes, and piccolos - no wood or other plant parts required, provided you give each musician an LCD display from which to read the music.

[Ollie 1,375]

So all composers hate trees?

[Neimoidian 15]

So all composers hate trees?

No. Fortunately, eco-friendly guys at RCP tend to write for brass and synth/electric strings, avoiding woodwinds at all cost.

[Diego 21]

Hmm... this place really needs a new Williams release soon.

[Ollie 1,375]

So all composers hate trees?

No. Fortunately, eco-friendly guys at RCP tend to write for brass and synth/electric strings, avoiding woodwinds at all cost.

Well at they're good for something.

[Neimoidian 15]

So all composers hate trees?

No. Fortunately, eco-friendly guys at RCP tend to write for brass and synth/electric strings, avoiding woodwinds at all cost.

Well at they're good for something.

Yep. By listening to their music, you help the environment!

[Ollie 1,375]

That could fall under air pollution laws.

[Marian Schedenig 11,695]

Williams is a dendrophile aeronausiphobe.

[Charlie Brigden 7]

All this talk of recycling and not one Horner mention?

[Marian Schedenig 11,695]

There's a difference. Horner recycles musical notes on new paper. That's no environmental benefit.

[Neimoidian 15]

There's a difference. Horner recycles musical notes on new paper. That's no environmental benefit.

I have got the feeling he actually reuses the whole pages of his older scores

[John Crichton 4]

It depends on how much golf Williams plays nowadays.

[Jeshopk 8]

Oh my, the topic is full of wonderful quips! Last I checked it had 0 responses. Now I shall weigh in.

Williams is a walker. A walk taker. It gets his mind a goin. He's a tree hugger. Maybe he even feels "the force" between the tree, the rock, etc. Whatever it is, I have no doubt he gazes lovingly at trees and truly thinks they have some sort of spirit or soul - a life if you will. I say, profound.

And now let us ponder whether Williams actually "listens" to trees ustilizing ancient methods outlined herein:

http://www.wuji.com/treeqigong.htm

It depends on how much golf Williams plays nowadays.

Perhaps he rebounded a hole in one off a willow and a birch.

[John Crichton 4]

Take it from this duffer who once thought about using a sand wedge as an ax: trees are the enemy.

[BLUMENKOHL 1,110]

All I know is Jerry Goldsmith had an entire track named "The Trees" and it kicked ass.

So John Williams is a tree-killing bastard as far as I'm concerned.

[Nick Parker 3,049]

And now let us ponder whether Williams actually "listens" to trees ustilizing ancient methods outlined herein:

http://www.wuji.com/treeqigong.htm

The trees ghost-write John Williams' music!

[Incanus 5,890]

John Williams' seems to have a profound connection with the natural world, trees, forests, nature in general. Nature has inspired so many great artists so Williams is not alone in his respect and inspiration. In his works for concert hall Williams usually shows a very personal side of himself to the listener and most of all I think when he writes his "tree inspired" compositions. Around his love for natural world there is a sense of myth, mysticism and wonder. These I could say come from being inspired by the natural world on several different levels. Mythical, historical, artistic, personal. With this sense of myth and mysticism comes often a very solemn, ruminating and comtemplative mood. As many of his works on trees and forests are in a concerto form they are bound to a certain movement template but the general mood of them is still comtemplative. And at the same time they exude the wonder for these trees, the sheer dazzling amazement and awe of living things. Williams himself has described how he has favourite trees like the Metasequoia past which he used to walk in the Boston Public Gardens while staying in the city. So he has also an aesthetic connection to the trees themselves as individual trees.

All tree inspired compositions Williams has done thusfar bear a personal connection. The Five Sacred Trees was result of Williams reading the Celtic mythology and coupled with his affinity for nature produced a concerto which represents trees in a programmatic way, on mythical level. I believe the translations of Robert Graves alone did not inspire Williams but also his own personal love of nature combined with this mythology produced impetus and sparked his imagination. This Celtic mythology also has influenced Duel of the Fates in its lyrics and the second movement of William's Horn Concerto titled Battle of the Trees. The piece is extremely lyrical and bears some Celtic stylings but also feels like the composer expresses here his personal affinity for nature and mythology.

Heartwood on the other hand was inspired by visual imagery. Not a very unfamiliar situation for a film composer but this time it was the photographs of trees rather than film. The difference is that here Williams could write what he felt personally and not what was dictated by time restrictions or demands of a film. The result of a very serene again very contemplative composition, very lyrical, featuring solo cello to represent Heartwood, what ever it is, a spirit of the forest, the spirit of a tree, core of an instrument. The music begins slowly and develops in the middle of the composition to a typical Williams style crescendo, that often is included in his nature inspired compositions and to me signifies the sheer majesty and towering beauty of trees and the awe which one feels for the natural world at times. Similar moments can be found in The Five Sacred Trees and Treesong.

The Treesong is a very personal composition for Williams. Written for Gill Shaham (as all Williams' soloist works are written with a specific soloist in mind), inspired by Williams's meeting with a Metasequoia tree and Dr. Hu, the botanist who brought these almost extinct trees from China to America, the piece is a sort of musical depiction of this great tree even though not in the strictest sense as mentioned by the Maestro himself. A violin is an interesting instrument to depict this ancient tree as it has such a high register sound. The sound of this piece is not robust, in low register, thick or loud which it could have been given the inspiration, a gigantic dawn redwood, but lyrical and light. This lyricism is typical trait of these tree inspired compositions of Williams (could be argued that of all his works), and what could be more lyrical than a violin. Here the instrument seems to describe with the support of very translucent orchestrations the leaves and the branches and the entirety of this giant of a tree culminating to the final movement of "The Tree Sings". Williams writes in the liner notes how he wanted not to describe the tree per se but rather the dignity and beauty of it and also to showcase the artistry of Gil Shaham. Singing last movement is also a trademark of Williams' concert compositions for soloists which allows the artist to shine and connect with the listener in a direct way in form of a beautiful melody and perhaps it also tries to capture that quality of lyricism and beauty and even spirituality which the trees seem to have that fascinates mankind and can't be explained by mere words.

And now we have On Willows and Birches, for Harp and Orchestracoming up in September with Ann Hobson Pilot as the soloist. I am looking forward to this piece, hoping we get to hear it at some point. Also I would also love to hear what the inspiration for this music has been, the story behind this composition, as it seems to be another tree inspired concert piece.

[Ollie 1,375]

It figures Incanus would write something sensible and articulate and shame us all.

Well said.

[Jeshopk 8]

John Williams' seems to have a profound connection with the natural world, trees, forests, nature in general. Nature has inspired so many great artists so Williams is not alone in his respect and inspiration. In his works for concert hall Williams usually shows a very personal side of himself to the listener and most of all I think when he writes his "tree inspired" compositions. Around his love for natural world there is a sense of myth, mysticism and wonder. These I could say come from being inspired by the natural world on several different levels. Mythical, historical, artistic, personal. With this sense of myth and mysticism comes often a very solemn, ruminating and comtemplative mood. As many of his works on trees and forests are in a concerto form they are bound to a certain movement template but the general mood of them is still comtemplative. And at the same time they exude the wonder for these trees, the sheer dazzling amazement and awe of living things. Williams himself has described how he has favourite trees like the Metasequoia past which he used to walk in the Boston Public Gardens while staying in the city. So he has also an aesthetic connection to the trees themselves as individual trees.

All tree inspired compositions Williams has done thusfar bear a personal connection. The Five Sacred Trees was result of Williams reading the Celtic mythology and coupled with his affinity for nature produced a concerto which represents trees in a programmatic way, on mythical level. I believe the translations of Robert Graves alone did not inspire Williams but also his own personal love of nature combined with this mythology produced impetus and sparked his imagination. This Celtic mythology also has influenced Duel of the Fates in its lyrics and the second movement of William's Horn Concerto titled Battle of the Trees. The piece is extremely lyrical and bears some Celtic stylings but also feels like the composer expresses here his personal affinity for nature and mythology.

Heartwood on the other hand was inspired by visual imagery. Not a very unfamiliar situation for a film composer but this time it was the photographs of trees rather than film. The difference is that here Williams could write what he felt personally and not what was dictated by time restrictions or demands of a film. The result of a very serene again very contemplative composition, very lyrical, featuring solo cello to represent Heartwood, what ever it is, a spirit of the forest, the spirit of a tree, core of an instrument. The music begins slowly and develops in the middle of the composition to a typical Williams style crescendo, that often is included in his nature inspired compositions and to me signifies the sheer majesty and towering beauty of trees and the awe which one feels for the natural world at times. Similar moments can be found in The Five Sacred Trees and Treesong.

The Treesong is a very personal composition for Williams. Written for Gill Shaham (as all Williams' soloist works are written with a specific soloist in mind), inspired by Williams's meeting with a Metasequoia tree and Dr. Hu, the botanist who brought these almost extinct trees from China to America, the piece is a sort of musical depiction of this great tree even though not in the strictest sense as mentioned by the Maestro himself. A violin is an interesting instrument to depict this ancient tree as it has such a high register sound. The sound of this piece is not robust, in low register, thick or loud which it could have been given the inspiration, a gigantic dawn redwood, but lyrical and light. This lyricism is typical trait of these tree inspired compositions of Williams (could be argued that of all his works), and what could be more lyrical than a violin. Here the instrument seems to describe with the support of very translucent orchestrations the leaves and the branches and the entirety of this giant of a tree culminating to the final movement of "The Tree Sings". Williams writes in the liner notes how he wanted not to describe the tree per se but rather the dignity and beauty of it and also to showcase the artistry of Gil Shaham. Singing last movement is also a trademark of Williams' concert compositions for soloists which allows the artist to shine and connect with the listener in a direct way in form of a beautiful melody and perhaps it also tries to capture that quality of lyricism and beauty and even spirituality which the trees seem to have that fascinates mankind and can't be explained by mere words.

And now we have On Willows and Birches, for Harp and Orchestracoming up in September with Ann Hobson Pilot as the soloist. I am looking forward to this piece, hoping we get to hear it at some point. Also I would also love to hear what the inspiration for this music has been, the story behind this composition, as it seems to be another tree inspired concert piece.

A++

[Bowie 48]

John Williams' seems to have a profound connection with the natural world, trees, forests, nature in general. Nature has inspired so many great artists so Williams is not alone in his respect and inspiration. In his works for concert hall Williams usually shows a very personal side of himself to the listener and most of all I think when he writes his "tree inspired" compositions. Around his love for natural world there is a sense of myth, mysticism and wonder. These I could say come from being inspired by the natural world on several different levels. Mythical, historical, artistic, personal. With this sense of myth and mysticism comes often a very solemn, ruminating and comtemplative mood. As many of his works on trees and forests are in a concerto form they are bound to a certain movement template but the general mood of them is still comtemplative. And at the same time they exude the wonder for these trees, the sheer dazzling amazement and awe of living things. Williams himself has described how he has favourite trees like the Metasequoia past which he used to walk in the Boston Public Gardens while staying in the city. So he has also an aesthetic connection to the trees themselves as individual trees.

All tree inspired compositions Williams has done thusfar bear a personal connection. The Five Sacred Trees was result of Williams reading the Celtic mythology and coupled with his affinity for nature produced a concerto which represents trees in a programmatic way, on mythical level. I believe the translations of Robert Graves alone did not inspire Williams but also his own personal love of nature combined with this mythology produced impetus and sparked his imagination. This Celtic mythology also has influenced Duel of the Fates in its lyrics and the second movement of William's Horn Concerto titled Battle of the Trees. The piece is extremely lyrical and bears some Celtic stylings but also feels like the composer expresses here his personal affinity for nature and mythology.

Heartwood on the other hand was inspired by visual imagery. Not a very unfamiliar situation for a film composer but this time it was the photographs of trees rather than film. The difference is that here Williams could write what he felt personally and not what was dictated by time restrictions or demands of a film. The result of a very serene again very contemplative composition, very lyrical, featuring solo cello to represent Heartwood, what ever it is, a spirit of the forest, the spirit of a tree, core of an instrument. The music begins slowly and develops in the middle of the composition to a typical Williams style crescendo, that often is included in his nature inspired compositions and to me signifies the sheer majesty and towering beauty of trees and the awe which one feels for the natural world at times. Similar moments can be found in The Five Sacred Trees and Treesong.

The Treesong is a very personal composition for Williams. Written for Gill Shaham (as all Williams' soloist works are written with a specific soloist in mind), inspired by Williams's meeting with a Metasequoia tree and Dr. Hu, the botanist who brought these almost extinct trees from China to America, the piece is a sort of musical depiction of this great tree even though not in the strictest sense as mentioned by the Maestro himself. A violin is an interesting instrument to depict this ancient tree as it has such a high register sound. The sound of this piece is not robust, in low register, thick or loud which it could have been given the inspiration, a gigantic dawn redwood, but lyrical and light. This lyricism is typical trait of these tree inspired compositions of Williams (could be argued that of all his works), and what could be more lyrical than a violin. Here the instrument seems to describe with the support of very translucent orchestrations the leaves and the branches and the entirety of this giant of a tree culminating to the final movement of "The Tree Sings". Williams writes in the liner notes how he wanted not to describe the tree per se but rather the dignity and beauty of it and also to showcase the artistry of Gil Shaham. Singing last movement is also a trademark of Williams' concert compositions for soloists which allows the artist to shine and connect with the listener in a direct way in form of a beautiful melody and perhaps it also tries to capture that quality of lyricism and beauty and even spirituality which the trees seem to have that fascinates mankind and can't be explained by mere words.

And now we have On Willows and Birches, for Harp and Orchestracoming up in September with Ann Hobson Pilot as the soloist. I am looking forward to this piece, hoping we get to hear it at some point. Also I would also love to hear what the inspiration for this music has been, the story behind this composition, as it seems to be another tree inspired concert piece.

A++

Couldn't have said it any better myself.

Oh, and this coffee talk was on my birthday (29th)! Happy Birthday me!

[Koray Savas 2,260]

We have the same birthday...