karelm

As much as I love JW, when he is gone he will be remembered as the last of an era that will then be part of history - he'll still have an influence, but it will be somewhat like Bernard Herrmann - someone who conjures up a sound, time, and a place rather than a style that continues to exert influence. That’s why I don’t think he can be reproduced by a next generation – he is part of his time and that time would be over since he’s the last of it - the classic Hollywood style. I also think some of his less popular works might get some more attention and reevaluation in time since the hoopla surrounding his more popular works dies down (or is viewed more contextually) since it completely overshadows his other music. He doesn't seem to have broken any new ground - rather mastered his craft to a degree that is exceedingly rare and even less valued these days. Perhaps he’ll be thought of more like Rachmaninoff - a traditionalist who took great care in the works he produced but is clearly in the post Tchaikovsky tradition that remains in its time and place rather than having the ongoing influence of some of the other composers who did break new ground (Berlioz, Beethoven, Wagner, Stravinsky, etc).

That is actually an interesting point - the film music is really his personal response to the story and drama. He said in an interview that he likes to watch without reading the script so he discovers the plot twists and development like the audience would. He would know when he was getting bored to help pick up the pace musically, or when he was surprised, how he would personally react and then he has the skill to translate his personal feelings into music - so I think you are right - his music for film is personal as is his concert music. I think the difference is in what the nature of the inspiration is - many famous concert works have had the source of the inspiration dictated to the composer who was then hired to write in their trademark style (for example: Prokofiev's Eisenstein films, his ballets, Edward Grieg's Peer Gynt, Bach's Brandenberg Concerto, Stravinsky's Firebird, etc.) I do think the pinnacle of Williams’s achievement lies in his large scale operatic film scores with heart on their sleeves sentiment. With that said, we see another side of him in his concert music – less overt sentimentality perhaps because it is more personal in nature. I think Miklos Rozsa’s concert music was very accomplished and very different from his film music – you can hardly tell it’s the same person but it is very good. It does not sell out concert venues the way his film music might. Basically, his legacy does not rest on his concert music but on his film works. Bernard Herrmann’s concert music was pretty much exactly the same as his film music. Williams is probably somewhere in between – you can hear the same fingerprint, just the degree of sentimentality is toned down (not as sweeping melodically – more introverted and reflective in general) but the harmonic ingenuity, colors are all there. I believe John Williams's legacy will rest on his film works where the concert music adds to the body of skills and techniques he mastered, however that is not where he will be remembered. It is almost like how Leonardo DaVinci was a scientist (The areas of his scientific study included aeronautics, anatomy, astronomy, botany, engineering, chemistry, geology, math, physics, etc.) however he is most remembered as a painter/sculptor. His mastery of so many varied mediums adds to our understanding of his unique genius.

I'm a bass trombonist and also an orchestral performer and had this problem once. It was a mechanical problem. Basically, the triggers got stuck half way engaged so I now make sure I keep it well lubed. The mechanics of the instrument are simple that it can only be a few issues. If you are positive you are blowing enough air and are blowing in tune, it must be mechanical and there are only a few spots that can be (triggers, spit valve). Try mouthpiece buzzing and see that you are buzzing and in tune. That will isolate if the problem is you or the instrument. Also, it sounds like you mention your lips are swollen. That is probably the problem right there. Perhaps too much practice so a day or two off would be good.

Interesting interview. He certainly seems to have lightened his cocky tone recently and also seems to lament the lack of melody in music these days. I imagine the score he was referring to where the director asked him to remove the melody and only use the chords was "The New World" directed by Terrence Mallick. The music in the film is much less melodic than the soundtrack is and I know he disapproved of the musical direction he was given on that film. Since part of the reason identified by Horner that melodic writing isn't in vogue is because of a crop fo directors who do not want that sound/style, do you think melodic music will return? The big blockbusters still use melodies - Pirates of the Carribean, Alice in Wonderland, King kong, Harry Potter, etc., so whenever I hear a score in those films, I think melodic writing is still the way to write the big films, but it feels like it doesn't take hold as being the "sound" of film scoring it was 20-30 years ago. I'm trying to understand if its a fad, or melodies are gone. What do you guys think?

I completely agree - plus he is original. In one bar you know its him. The only thing is he just doesn't write much.

I just finished listening to Jerry Goldsmith's score for "Islands in the Stream" from 1977. It is such a beautiful and tender work full of impressionistic touches and great restraint yet is true to his style from that period. I grant few films are made with such a delicate touch these days, but it got me thinking, of contemporary film composers working today, who do you consider to be a smart composer regarding their handling of the dramatic materials and creative decisions they make and are capable of doing justice to sensitive and restrained stories? Are there any film composers around anymore who believe in the craft and holding back as being the best approach to scoring a sensitive story? I was thinking Gabriel Yared but he is no where near as skill as Goldsmith was in getting into the root of the underlying drama of the character or storyline. Of course, there is JW, but I was wondering more about the up and coming generation. It seems Zimmer and his disciples unrestrained approach are so prevalent in the industry these days that there isn't much room for someone taking a more considered and restrained approach.

The Flute Concerto is quite advanced musically. I think, along with "Images", is his most avant garde work. It is one of my favorite of his concert pieces along with this early Violin Concerto.

It was a great concert. The horns sounded fantastic and strings were rich and warm...not too much portamento for the older scores, but just a lovely glow. I've heard ET live maybe 20 times and every time it gives me goose bumps. Also, this was the best I had ever heard the Imperial March performed. It was terrifying, thrilling, and menacing. I think the reason it sounded so great was the accoustics made every thud of the percussion crystal clear and Disney Hall's accoustics are unmatched. I also really enjoyed hearing the Goldsmith and noirish works. Williams definitely emphasises the lonely, noir elements of the music in the first hour. I commented to my friends all the music felt very sad to me...well, maybe except for the Korngold. Geisha was a bit over long, but it was remarkable to hear him come up with something new at his age. Composer seemed more tired than usual. Hope he is doing ok.

More than a 500-page book talking about the music (which would however be interesting), I'd like an official release of the complete conductor scores. I really can't understand why they don't pursue an operation of this kind. If there is a film conductor score that would sell from the publication day to the end of times, that is Star Wars. Even an official scan of the complete sketches would do. They are missing an opportunity to make a lot of money and to bring joy to a lot of film music students all around the world. I think the bottom line is the studios who own this music know there is a high value placed on it because it is hard to get. It's economics. These scores do exist somewhere and they know many people would give anything to review it. I heard once that it is practically impossible to just see these scores at the studios. Of course I would give anything to study the scores, but I'd also love to read the studies of a scholar who's analyzed the scores. For example, when I was studying piano - I thought I understood everything about Bach's C major prelude but not until my teacher exposed it to me did I realize just how complex it was. 90% of the analysis was lost on me for not having enough understanding of just how complex the score was. I also think it would be very very interesting to just hear what Williams thought of working with Herb Spencer. Were they ever at odds? I also think it would take a professional to write this material who is skilled at interview because it would be great to hear the real down and dirty opinions of Williams not just the polished Williams. Ahh...I can't wait for someone to care enough about this to write it.

After some time, I have returned to listening to the complete music of the six Star Wars films back to back. Perhaps this is a result of nostalgia from the recent Indiana Jones movie revealing some more cool music from JW. Anyway, I was struck with how diverse and complex the thematic material is. I am surprised that there isn't a 500 page book out there that deals with the complete story of the creation of the music, the various themes, how they develop through the stories, and how they were created, etc. For example, I'm curious did JW struggle with the yoda theme? What was the back story to the Darth Vader march? In total, how many themes are there and how did they evolve? Why doesn't the Rebel theme of Star Wars not appear in Empire but the force theme appears in all six films? Did the Han Solo and Leia Love theme originate from the Star Wars Leia theme? Who were all the musicians in each film? Why does Star Wars sound so different from Empire? What creative challenges were there in the creation and recording of the music? I suppose for a serious study of this to be done, someone would need access to all the original scores, sketches and all. I want to know so much more about this historic landmark of a score than seems to have been researched. Does anyone have any idea why something like this hasn't been undertaken? Surely I'm not the only one who wants to know about this from the inside out.

Excellent list there Miguel. I'd also like to add: Lepo Sumera, Kevin Puts, Schnittke's concertos. What is a great piece by Torke for me to check out?

Let me first say I am a HUGE fan of Star Wars music - but it is not original. You can hear what the film was temped with when you listen to Star Wars, but you can't on Empire. It is commonly known that Williams was hired on Star Wars to adapt classical music. You can hear the Korngold fanfares, Holst marches, Stravinsky alien landscapes, Walton epic battles, etc. I don't believe Williams was let loose much on Star Wars, but was given more free reign on ESB. Star Wars is still a staggering achievement and easily one of the top 25 film scores of all time and one of my personal favorites. It shows a master craftsman at work, but original it is not. what a load of bantha poodoo, it was never commonly known that Williams, who was suggested to Lucas by Spielberg, was there to adapt classical music. Sounds like you've been listening to your professionally jealous professors who don't know s*** we've heard the extremely tired argument before and its doesn't fly here. Joey, Are you nuts? What is your point based on? There are interviews where Williams himself says he was brought on to Star Wars to adapt classical pieces and felt he could do more with an original score and convinced Lucas of this. Check out the interviews of Williams before stating this is from jealous professors.

I'm not familiar with Holst, Stravinski and Walton at all, so I won't argue that. Based on what I have heard though, it is original. And I haven't really heard any Korngold in it, unless it's got Korngold in it that I'm not familiar with either. I'm not sure I understand what you are saying - it sounds like you are saying is its original based on the fact you've not heard the music it is based on which doesn't make sense. Check out Walton's "Battle of Britain" for the battle music; Korngold's "King's Row" for the main title, Holst's "Mars" from the Planets, Stravinsky's Rite of Spring (Introduction to Part II); inversion of Barry's "Born Free" for the melody - mix it all up and hand it to a skilled composer and you get Star Wars. Original it is not; but great it still is.

Let me first say I am a HUGE fan of Star Wars music - but it is not original. You can hear what the film was temped with when you listen to Star Wars, but you can't on Empire. It is commonly known that Williams was hired on Star Wars to adapt classical music. You can hear the Korngold fanfares, Holst marches, Stravinsky alien landscapes, Walton epic battles, etc. I don't believe Williams was let loose much on Star Wars, but was given more free reign on ESB. Star Wars is still a staggering achievement and easily one of the top 25 film scores of all time and one of my personal favorites. It shows a master craftsman at work, but original it is not.

I believe the difference in the scores of SW - ANH and ESB are very noticeable just like the look and feel of the films are so different. Don't forget ESB is more of a character development film than an action film and the approach to scoring reflects this. Remember that no one believed SW would be anything more than a popcorn movie that would come and go but by ESB they had a giant hit on their hands and therefore expanded the schedules, budgets, screenplay, FX, directing, etc. This change in approach is felt in the music too - the themes are more developed and at their core more expressive than SW which has more of the Korngold swashbuckling sound in it. Also, the recording budget was noticeably higher so the orchestra was larger (I believe from 88 players to up to 104) and the recording techniques more sophisticated. I think they had more time for retakes so the music is less crude in ESB. They also recorded it in a different studio (Anvil to Abbey Road). There are many reasons why the "sound" is different.