WilliamsStarShip2282

My this is an old thread.

Actually , I never heard a track thinking, "it's too fast", "too slow" or "too sloppy" from Williams, conducting his own music or otherwise.
I think he has a unique way of bringing at least his own music to life and always seems to be getting the best out of the orchestra.
To me these are attributes of a great conductor.

Most people who don't think he's a good conductor are ignorant and would never know the difference in their life. For every good conductor, there's a great many more who are posers. A good conductor, in whatever way, get's the orchestra to play well, corrects mistakes, balances, and adds their interpretation to the music (which is always the hardest part as orchestras sometimes fight the conductor).
 
John Williams is an excellent conductor, with a meticulous ear for just about everything, especially for knowing what to attack in a rehearsal when and how and even perhaps more important when to leave things alone (such as James Levine who would pick over the same details forever or tediously rehearse the last three mozart symphonies, stopping and starting constantly and never really playing through any of it 100%, which really just accomplishes nothing more than irritate the orchestra). 
 
A great many conductors live on this mythic reputation, which when asked for evidence to support such a reputation, there's usually nill to go on. Especially true in the case of his recordings of "The Rite of Spring"which Stravinsky absolutely hated and said it was the antithesis of what he envisioned (If you don't believe me, mainly because it's widely reported Stravinsky loved the recording, just look up his autobiography he goes off on a big rant about it. Ligeti, Boulez and Stockhausen were also displeased with his recordings of their pieces saying he ignored their wishes and did whatever he wanted). Bernstein was a legend but he could be all over the place, inconsistent. Claudio Abaddo has more hideous recordings ( meaning just terrible sounding and full of mistakes) than any other conductor, Andris Nelsons I think is also difficult to follow as it seems he conducts some pieces differently from each rehearsal to concert (from what I have observed, I could be wrong) although his interpretations can be pretty nice, Leonard Slatkin (also in my opinion) was never anything special and has in the last ten years gotten so lazy and uninspired that that kind of sound is 100% reflected in the orchestra (having heard him conduct several orchestras within the same few years in the US and Europe), Gergiev's performances always sound terrible because he's extremely spontaneous and doesn't even rehearse the orchestras most of the time he has other people do it. Daniel Barenboim mostly screams at the orchestra (usually calling them stupid), throws things, and in any case every time i've heard him conduct live and even on many recordings it sounds very half assed and sloppy and comes across as very lazy (although the times I've heard him perform as a pianist have been wonderful). Copland, Stravinsky, and Pendereki were (are) absolutely terrible conductors.
 
I could keep going but that's really boring. Basically what makes a good conductor, at least one who is respected by all, is a person who's a good go between who acts like they are one of the ensemble, respects their wishes, but also can be commanding when needed. Deals with balancing, mistakes, and gives their interpretation when they can, or at the very least, what they believe the composers wishes were. Most importantly are excellent communicators. I think a lot of names are usually left out; Simon Rattle, Pierre Boulez, Bernard Haitink, Andre Previn, John Elliot Gardiner and John Williams certainly fall into a category of the finest conductors who embody all the above, but could conduct various types of music well ranging from the avante-garde to the contemporary.
 
PS- judging a conductor who only conducts classics is silly because for example, the last three mozart symponies, the orchestra will usually play them the way they usually play them and will sometimes completely ignore the conductor, which I have seen time and again, however a great recording of the vienna phil, all teh credit goes to the conductor who may have little to do with the performance besides stand there and look nice.
 

That quote is wrong. He started conducting out of self defense, as he felt that some of the studio conductors weren't that good.
That won't apply to concert performances -- if it did, no one would be conducting his music besides himself.
Back to topic, and while I've no music training, I would say is a very good conductor (either of his music or others). He is one of the few musicians, coming from Hollywood, able to have a conducting career outside L.A. Granted, that back in 1979, when he was offered the Boston Pops post, the recent success of his blockbuster scores had surely some weight on the BSO management choice. They needed someone to bring public notoriety to the orchestra, as with Fiedler, on his later years, the orchestra seemed to loose some of it.
But the Boston Symphony being one of the top orchestras in the US, I wouldn't believe they would go with someone just for being famous.
Also, I would argue that one a few occasions, Williams performances out do those of others, sometime by career conductors. Back in 1987 he recorded the premiere of Maxwell Davies' "And Orkney Wedding, with Sunrise" (released on "Pops Britannia"), which Williams premiered during the Boston Pops centennial celebration, and he himself commissioned. I always felt this performance to be superior to the composer conducting this very same piece (sadly long out of print, as Colins Classics closed its doors...). The same applies to Michael Torke's "Javelin" (released on "Summon the Heroes"). In that same year, was released the premiere recording, with the Atlanta Symphony under Yoel Levi, and I also find Williams' rendition superior.
Finally, his recordings of Hovhaness' "Symphony No. 2" and Takemitsu's "TreeLine" (both released on "The Five Sacred Trees") were welcomed by a Gramophone reviewer as top contenders for best performances of this pieces available on CD (and on the case of the Hovhaness, another conductor listed was no one else but the great Fritz Reiner).

Found this on instagram, looks like Across the Stars was arranged for her. This is especially interesting since the Yo-Yo Schindler's list one was more of a transcription probably.

Found this on instagram, looks like Across the Stars was arranged for her. This is especially interesting since the Yo-Yo Schindler's list one was more of a transcription probably.

Found this on instagram, looks like Across the Stars was arranged for her. This is especially interesting since the Yo-Yo Schindler's list one was more of a transcription probably.

Found this on instagram, looks like Across the Stars was arranged for her. This is especially interesting since the Yo-Yo Schindler's list one was more of a transcription probably.

Does anyone have that photo of Williams sporting Heartwood in his pants?
 
Asking for a friend.

Depends on what he eats I guess.
Sushi isn't very fattening.

Best news of the week! 
If this is as good as Conversations or Scherzo for Piano and Orchestra (just to follow the pieces mentioned earlier) I'll be in heaven!

Got an email from the BSO about Tanglewood Music Center auditions, and it's listed in the repertoire the premiere of a new piece for yo-yo and orchestra. Perhaps the Schindler arrangement?

Got an email from the BSO about Tanglewood Music Center auditions, and it's listed in the repertoire the premiere of a new piece for yo-yo and orchestra. Perhaps the Schindler arrangement?

Got an email from the BSO about Tanglewood Music Center auditions, and it's listed in the repertoire the premiere of a new piece for yo-yo and orchestra. Perhaps the Schindler arrangement?

Got an email from the BSO about Tanglewood Music Center auditions, and it's listed in the repertoire the premiere of a new piece for yo-yo and orchestra. Perhaps the Schindler arrangement?

Hey that's only an 80 minute drive from my house!

The Previn interview is from 2015. I don't think Mutter has been asking Williams for a piece since the 70's.
The way Previn puts it make it sound odd, but the story might have been slightly different, Williams declining because he feels there isn't anything more he can add to the repertoire of the violin, and is too busy doing film work... I do recall a interview with Mutter from a couple of years ago, where she mentions how she would love Williams would write something for her, but that he kept declining because he is always too busy with film music.
Honestly, as much a great musician Previn is, he sometimes sounds a bit over the top with his recollections.

Damn, what a tease to see this old topic ressurected. I thought the concerto had FINALLY been recorded properly. Of course, I'm very curious about the version Nate downloaded, and if it is the same abysmal-sounding recording we've had for years....or something new??

Hi all,
Just thought I would post about the upcoming Newport Contemporary Music Series, which will be in Newport, Rhode Island this coming summer. The season will finish with a special tribute to John Williams, including performances of his cello and flute concerto along with some other great works. Additionally for you film score fans, Howard Shore will be present for a special performance of his "Six Pieces", followed by a Q&A after the performance, as well as two special performances by Philip Glass. The season will open on July 1 with the world premiere of "Almost an Overture", composed by Andre Previn for the newly formed, Newport Contemporary Arts Orchestra, created especially for the series.
 
So if you are in the New England area this summer, be sure to check out these performances! Tickets are currently on sale, and be sure to check out the Facebook page as well for updates.
http://ncmsri.org/2017-season/
 
https://www.facebook.com/Newport-Contemporary-Music-Series

Hi all,
Just thought I would post about the upcoming Newport Contemporary Music Series, which will be in Newport, Rhode Island this coming summer. The season will finish with a special tribute to John Williams, including performances of his cello and flute concerto along with some other great works. Additionally for you film score fans, Howard Shore will be present for a special performance of his "Six Pieces", followed by a Q&A after the performance, as well as two special performances by Philip Glass. The season will open on July 1 with the world premiere of "Almost an Overture", composed by Andre Previn for the newly formed, Newport Contemporary Arts Orchestra, created especially for the series.
 
So if you are in the New England area this summer, be sure to check out these performances! Tickets are currently on sale, and be sure to check out the Facebook page as well for updates.
http://ncmsri.org/2017-season/
 
https://www.facebook.com/Newport-Contemporary-Music-Series

Sorry, won't find many of those around here.
 
In all seriousness, this looks like some really cool stuff.  Wish Rhode Island was a little closer!

Also, the piece he was writing last summer for " one of his favorite European musicians" will me premiered this summer. "Markings", for solo violin, strings, and harp- for Anne Sophie Mutter.

https://www.bso.org/Performance/Detail/85537

AP: I admire Johnny Williams. He’s very good at what he does, and he writes very good themes. Now, Anne-Sophie made him an offer. She said, “Why don’t you write me a concerto?” And he said, “Oh, I don’t write that kind of music.” And she said, “Yes, you do. You write beautiful themes.”
FJO: But he wrote a trombone concerto?
AP: Did he?
FJO: It’s a pretty solid piece.
AP: He also wrote a bassoon concerto, which I like very much. Anyway, he back pedaled on that, but she kept asking and just recently he said, “Look, I’m not going to write one. I’m just not. I can’t do it. I haven’t got the background for it, and I don’t think I want to.” And she said O.K. But she said to me, “This is silly, because I’d play it everywhere.” I’ve known Johnny ever since we were both rehearsal pianists at a ballroom dancing school on La Brea Avenue. We used to take turns playing “Blueberry Hill.” Oh boy. Anyway, I don’t think he is willing to gamble with his own talent. He’s wonderfully talented and a tremendous orchestrator, but he doesn’t believe it. And a big piece—it’s a lot of pages. I don’t think that he has belief enough in his own talent, even though he has more than enough talent to do it.
FJO: Maybe it’s taking him too far out of his comfort zone in terms of the context.
AP: Comfort zone? He’s a millionaire.
FJO: I mean his comfort zone creatively.
AP: Oh, sure.
This is also kinteresting:
 
 
 
AP: If I were still working with films, which I haven’t done now since the mid ‘60s, I would probably fall back on certain clichés that I know work since I don’t want to spend a lifetime at it. Johnny Williams wrote in Tanglewood in the bungalow next to mine, and then he’d have his orchestrator [Herbert Spencer] come up and he’d hand him whatever he was working on. Johnny handed him something that looked like Meistersinger for God’s sake, and he said, “Let me explain this to you.” Herbie looked at the music, and he said, “No, I know this one.” The orchestrator didn’t mean any insult at all, but it was funny. I could see where he could take that very badly. But on the other hand, it was probably true. It was probably done on purpose. If you write movie music, you’re never given enough time, and they don’t want to hear anything brand new anyway. So it is very likely to be things that they’ve done before. You can always tell a Korngold score. You can always tell a Rózsa score. You can always tell an Elmer Bernstein score, because it’s watered down Copland. When Elmer Bernstein got a western to do, he’d say, “Oh yeah, I did Magnificent Seven. Let’s do that again.” There’s nothing wrong with it. It worked very well. It’s interesting music. You’re not going to wrack your brain thinking of novelties in a medium that doesn’t require it anyway. A very good film composer used to be a man called Jerry Goldsmith—brilliant and interesting music.
Indeed quite odd

I think he means the Tuba Concerto which is frequently played by trombonists
But this just blows my mind. Idk if Williams was that stern but still surprising.

Although I think he seems to be a rather insecure person when it comes to his concert music. In addition to this (if you can), he cut large sections out of the harp concerto before the premiere, pulled the symphony twice from being performed, has "revised" the cello concerto to death, etc.

Weird, because he would have written the original concerto in the 70's and then later Tree Song. Besides commissions from the really major orchestra, I wonder if he actually accepts many commissions or people ask, he has the standard no, and then one day he just writes it.