The Concert Works apreciation thread

[Miguel Andrade 1,263]

I love all John Williams music, but his concert music has a very special place in my heart. I do find that most people around here just don't care for it, sometimes because they are not willing to let it grow on one's musical mind. Most of this music is not as direct and accecible as most film scores. Period. You have to learn it, and eventually love it.

So in the spirit of sharing, I thought that this could be a great start for those who aren't into Williams concert works, a sort of help guide to understand this music.

I start off, with what is probably Williams greatest effort on that field, and dare I say, one of his best compositions all around: the 1994 Concerto for Violoncello and Orchestra (revised in 1998).

Composed in a rush in early 1994 for the opening of the Osawa Hall in Tanglewood, it was written with Yo-Yo Ma in mind, and the score dedicatory reads "for Yo-Yo".

The Concerto is scored for soloist and orchestra, yet the orchestrations are very light -- at the lack of a more apropriate word. The revised version even made them more lighter, and expanded on the lyrical final movement.

On a personal note, before heading to a explanation of the music, I find that most, if not all, Williams concert music connects depply with nature, and on a more deep level, trees that he loves so dearly. I do find that this work is no exception, even if there is no hint of programatic ideas.

The first of the four movements played without any pause, is probably the most extroverted, as far as orchestrations are concerned. The work opens (I. Theme and Cadenza) with a grand orchestral statment of the main musical idea(which Williams call the Hero theme), that will pop up also later during the concerto. Orchestra and Cello enter in a dialogue, with brass fanfares then taken by woodwinds, were both strugle for center stage, eventually taken by the Cello on his Cadenza. Woodwinds, backed by strings eventually bring back the orchestra, and lead to a new statment of the main theme by the Cello.

Glockenspiel anounce the second movement "Blues", which uses the intervalic qualities of the style that gives the name to the movement. Most of it still goes around the main thematic idea presented on the first statement of the orchestra, with minor interjections of orchestral members.

The "Scherzo" lives to his name and is a very busy piece, with ocasional burst from the orchestra, and is very modernistic in style.

The lyrical beautiful final movement "Song", with his long cantilena like melodical lines, is in my mind about love and heart, and in his gentleness one can even imagine a sweet fairie throwing all his magic upon us. Williams referes that this is the most personal link to Ma's own personalitie, but i do find that in here you can really listen to Williams own soul.

Is curious how, away from Hollywood, Williams opts for a less and less muscular aproach, and the omnipresent brass of film scores tend to become a much more backstage position, just as if it was part of a dream half remembered.

The Concerto for Violoncello depends more on woodwinds and even percursion, used only to provide suport, and almost atmospheric strings, than on extroverted themes and fanfares of Hollywood. This is music of the mind, one of enormous sensibilitie, and you can feel all it's passion through the nearly 30 minute long piece.

As Yo-Yo Ma stated back in 1994, Williams could have called this his Concerto Romantico, as while the style is much of this century, it's soul lies in the great romantic tradition.

Additional thoughts are always welcome.

[Beowulf 4]

I would gladly devour more of JW's Concert Works.....I suppose I just haven't gotten around to it yet.

The pieces i'm most familiar with are the ones he wrote for the Olympics, which in my mind are spectacular (especially "Summon the Heroes").

Are there any readily available recordings of the Concerto you mentioned?

[Magnus 0]

I really like the Cello Concerto and it'd be great to perform it one day... I am however a little concerned about it as well, since the orchestra might be written a little too thick some times, which makes it harder to hear the soloist. But I suppose that can be edited if it becomes a serious concern.

His concertos are indeed very good, I especially like the Tuba Concerto and Essay for Strings. I've come to appreciate more and more of John's early works, they're very interesting.

I would gladly devour more of JW's Concert Works.....I suppose I just haven't gotten around to it yet.

The pieces i'm most familiar with are the ones he wrote for the Olympics, which in my mind are spectacular (especially "Summon the Heroes").

Are there any readily available recordings of the Concerto you mentioned?

It's available on "Yo-Yo Ma Plays the Music of John Williams", published by Sony Classical.

[Miguel Andrade 1,263]

Actually, i don't find the orchestrations all that thick, the orchestra sometimes just want to gain proeminence. The original version as premiered back in 94 has much more presence for the orchestra.

The Tuba Concerto is another favourite. Have you listened to the version for Bass Trombone and piano?

[Magnus 0]

The Tuba Concerto is another favourite. Have you listened to the version for Bass Trombone and piano?

I regret to say that I haven't, though I think I could persuade a friend of mine to study it and perform it.

[Miguel Andrade 1,263]

The Tuba Concerto is another favourite. Have you listened to the version for Bass Trombone and piano?

I regret to say that I haven't, though I think I could persuade a friend of mine to study it and perform it.

I could get you an mp3 of it

[Joni Wiljami 1,206]

Oh , Concerto for Violoncello is in that Yo-Yo Ma recording?! I have had it for ages but

never really checked what's in there.

That's my new program for friday night and I'll be back.

[Miguel Andrade 1,263]

Oh , Concerto for Violoncello is in that Yo-Yo Ma recording?! I have had it for ages but

never really checked what's in there.

That's my new program for friday night and I'll be back.

Then I would say you're up for a great friday night

[Seth 67]

The Cello Concerto is interesting but not one of my favorites. The first three minutes are quite good but then he loses momentum and I lose interest. The Five Sacred Trees is another story. It's a work I am very fond of all the way through. It's a bit different from his film style but I think it is still clearly his voice shining through.

[Red 75]

The Tuba Concerto is another favourite. Have you listened to the version for Bass Trombone and piano?

I regret to say that I haven't, though I think I could persuade a friend of mine to study it and perform it.

I could get you an mp3 of it

I'd be much obliged if you did.

Rabbit--who (in his infinite wisdom) cannot get the hang of Williams' concertos.

[Miguel Andrade 1,263]

Well, the Five Sacred Trees is a much more accecible work, if you ask me. The Cello Concerto is in my humble opinion, Williams on his most inner state. I hold this very hightly, not only as a favourite of me, but within Williams canon of work, and Williams himself seems to do the same. I do find that this is the closest thing he ever wrote wrote to fully portrait his inner self.

Whatever that means... I really don't know, maybe is just me...

Anyhow, while the opening is very catchy I do find everything so profoundly interesting, that I really can't say what's my favourite part. Maybe the final movement. Even so, I love the work all around.

I'm courrently uploading the Bass Trombone and Piano version of the Tube Concerto and will get the link to those interested later today.

Finally, I just had one silly idea... Since there are so many musicinas around here, wouldn't it be great if we all join efforts and could get recorded, even on an amateur level, all this soloist and piano reductions?

[Red 75]

I am not a good enough musician to do it justice.

[#SnowyVernalSpringsEternal 10,265]

Doesn't the fact that everyone lives so far away from everyone else, make that....difficult?

[Joni Wiljami 1,206]

Oh , Concerto for Violoncello is in that Yo-Yo Ma recording?! I have had it for ages but

never really checked what's in there.

That's my new program for friday night and I'll be back.

Then I would say you're up for a great friday night

Not very great. I got a new computer and there seems to be some problem with cd-player(noticed that before also with DVDs).

It sounds like the cd was dirty(it sure isn't )and also very weird echo.

Maybe I have some wrong settings?

But what I heard , it sounded very promising....

[Miguel Andrade 1,263]

Doesn't the fact that everyone lives so far away from everyone else, make that....difficult?

Well, surelly if you play the Cello, you know someone who could acompany you at the piano... Just an idea.

And everyone, check you PMs for the Bass TRombone an Piano version of the Tuba Concerto.

[Nemesis 245]

Doesn't the fact that everyone lives so far away from everyone else, make that....difficult?

Well, surelly if you play the Cello, you know someone who could acompany you at the piano... Just an idea.

And everyone, check you PMs for the Bass TRombone an Piano version of the Tuba Concerto.

Miguel, please could I also ask for the mp3?

I only know the orchestra version(s).

Thanks in advance!

Cyrill

[Joe Brausam 214]

Doesn't the fact that everyone lives so far away from everyone else, make that....difficult?

Well, surelly if you play the Cello, you know someone who could acompany you at the piano... Just an idea.

And everyone, check you PMs for the Bass TRombone an Piano version of the Tuba Concerto.

Miguel, please could I also ask for the mp3?

I only know the orchestra version(s).

Thanks in advance!

Cyrill

Yeah, definately get me in on that too!

I plan on doing the Horn concerto for my senior recital, thats still 3 years off though! But we make recordings of everything we do at school, so if the board is still around in 2010.....

[ChuckM 1]

I haven't heard a lot of William's concert work, but I've liked what I've heard. BTW, anyone know where I can find a recording (official, concert bootleg, or even a midi) of concerto for trumpet and orchestra. I have the sheet music, but am finding it a bit difficult to learn without hearing it at all first. I'm not very good at hearing music in my head just by looking at the notes.

[Miguel Andrade 1,263]

I haven't heard a lot of William's concert work, but I've liked what I've heard. BTW, anyone know where I can find a recording (official, concert bootleg, or even a midi) of concerto for trumpet and orchestra. I have the sheet music, but am finding it a bit difficult to learn without hearing it at all first. I'm not very good at hearing music in my head just by looking at the notes.

I can get you that one. I'll do it for you tomorrow. Another great work, I might add, that always brings to my mind the Barber Violin concerto. Both works are very american in sound, both have somewhat lyrical writting on the first two movements and end with very turbulent busy ones.

The first movement, mainly the duet created between soloist and the trumpet trio is amazing. The second more introspective one brings to my mind Copland's Quiet City. Amazing stuff.

Check you PM. If anyone else needs the Trumpet Concerto, let me know

Miguel, going back to the Cello Concerto...

[Mola 0]

Some wonderfully flexible and quasi improv cello writing in there - my favourite solo concerto, only second to Alban Bergs violin concerto and right after the Korngold concerto .

[nightscape94 965]

I have never heard the Tuba Concerto all the way through (don't actually own a recording), and I certainly never heard the version for Bass Trombone and piano.

I have never heard the original unrevised version of the Cello Concerto, so I can't compare the "Yo-Yo Ma Plays The Music Of John Williams" recording to anything else. I can say, though, that I enjoy it very much, especially the fourth, and final, movement. My favorite part is toward the end when the orchestra kicks in with the six repeating descending notes (they sound like eighths, but I'm not familiar with the sheet music), they slow, then stop....followed by a short pause right before the cello comes back in for the last couple of minutes until the end. The last two chords before this pause are so dense and powerful, that it kicks my ass every time. The section I'm talking about starts at the 9:42 mark on the CD

My favorite of his concerti is the Violin.

Tim

[Miguel Andrade 1,263]

I was listening early today to the Horn Concerto and is so hauntingly beautiful...

As for the Cello Concerto, I love it all, but the final movement will always have a very special meaning to me.

[mark_rayen 0]

Hi, I'm new. I've read this forum for quite some time now but this is my first time posting.

I've only just started getting into Williams' concert music and I must say that I really like his bassoon concerto. Its so mystical and colourful with such imaginative orchestrations. Though my favourite must be the Elegy for cello and orchestra. I recently ordered the reduced score of the horn concerto because I'm so tired of waiting for a recording! Its about time somebody recorded it. I also recently bought the premiere recording of the violin concerto. It hasn't really convinced me yet unfortunately, I find the climactic build ups to be a bit "artificial" in a way. Nothing to say about the skill involved here though, the man certainly knows what he's doing! And the flute concerto featured on the same disc is fantastic - its such a brilliant concept.

[Joe Brausam 214]

I was listening early today to the Horn Concerto and is so hauntingly beautiful...

As for the Cello Concerto, I love it all, but the final movement will always have a very special meaning to me.

The Horn Concerto is great, but its obnoxiously difficult. The only movements I can play without trouble are the Nocturne and Pastoral, the others require a LOT of work.

[Miguel Andrade 1,263]

Hi, I'm new. I've read this forum for quite some time now but this is my first time posting.

I've only just started getting into Williams' concert music and I must say that I really like his bassoon concerto. Its so mystical and colourful with such imaginative orchestrations. Though my favourite must be the Elegy for cello and orchestra. I recently ordered the reduced score of the horn concerto because I'm so tired of waiting for a recording! Its about time somebody recorded it. I also recently bought the premiere recording of the violin concerto. It hasn't really convinced me yet unfortunately, I find the climactic build ups to be a bit "artificial" in a way. Nothing to say about the skill involved here though, the man certainly knows what he's doing! And the flute concerto featured on the same disc is fantastic - its such a brilliant concept.

I have three diferent performances of the Horn Concerto. I can get them to you, but would sugest the european premiere, as is the one with best sound.

[QMM 4]

It's not a Williams concert work but I have to say that I'm still absolutely in love with Kamen's Concerto for Saxophone

The third movement especially is just magic.

[DU Lou 1]

Hi, I'm new. I've read this forum for quite some time now but this is my first time posting.

I've only just started getting into Williams' concert music and I must say that I really like his bassoon concerto. Its so mystical and colorful with such imaginative orchestrations. Though my favorite must be the Elegy for cello and orchestra. I recently ordered the reduced score of the horn concerto because I'm so tired of waiting for a recording! Its about time somebody recorded it. I also recently bought the premiere recording of the violin concerto. It hasn't really convinced me yet unfortunately, I find the climactic build ups to be a bit "artificial" in a way. Nothing to say about the skill involved here though, the man certainly knows what he's doing! And the flute concerto featured on the same disc is fantastic - its such a brilliant concept.

I have three different performances of the Horn Concerto. I can get them to you, but would suggest the European premiere, as is the one with best sound.

I would love a copy of the European premiere as well if you have an opportunity

Thank you sir

[Miguel Andrade 1,263]

It's not a Williams concert work but I have to say that I'm still absolutely in love with Kamen's Concerto for Saxophone

The third movement especially is just magic.

And what's not to love in Kamen's Sax Concerto? Do you ever checked the laser disc or later dvd release?

[DU Lou 1]

It took about 27 listens but "Tributes" finally grew on me

Especially the last 3 minutes or so...

[Miguel Andrade 1,263]

It took about 27 listens but "Tributes" finally grew on me

Especially the last 3 minutes or so...

Well, the piece hit me right the first time I listened to it. I mean, the first note itself did the trick

[Quintus 5,399]

I've yet to hear any of Williams' more personal pieces. I'd love hear his Cello Concerto, but searches always draw a blank. I won't purchase an album based purely on a piece I've never heard.

[Seth 67]

I've yet to hear any of Williams' more personal pieces. I'd love hear his Cello Concerto, but searches always draw a blank. I won't purchase an album based purely on a piece I've never heard.

That's a smart move in my view. I bought the cello CD without hearing it first. It's been five years and I still haven't connected with the piece at all. The first 3 minutes are nice but then he loses me. The violin concerto, though, is a lovely thing.

[Miguel Andrade 1,263]

I've yet to hear any of Williams' more personal pieces. I'd love hear his Cello Concerto, but searches always draw a blank. I won't purchase an album based purely on a piece I've never heard.

I apologise but I fail to understand that... if I would only buy what I've already listened to, I wouldn't have almost none of the great music I have on my collection.

[nightscape94 965]

In a recent interview, Joel McNeely said he's trying to put together a CD of chamber music, including his own, and pieces from Williams, Herrmann, and other "film composers". I wasn't aware that Williams even wrote any chamber music. Unless, of course, he wasn't talking about concert work, and meant something like pieces from Jane Eyre.

Tim

[QMM 4]

It's not a Williams concert work but I have to say that I'm still absolutely in love with Kamen's Concerto for Saxophone

The third movement especially is just magic.

And what's not to love in Kamen's Sax Concerto? Do you ever checked the laser disc or later dvd release?

I've heard of the DVD but've held off on buying it because it's only pictures of the concert. Haven't heard about the laser disc though.

[ChrisAfonso 186]

Finally, I just had one silly idea... Since there are so many musicinas around here, wouldn't it be great if we all join efforts and could get recorded, even on an amateur level, all this soloist and piano reductions?

I would love to, but I'm still waiting for Hal Leonard (or anyone else) to publish the violin concerto... it's 30 years old, how much longer can it take? Besides, my instrumental skills aren't enough for that piece... But I'd love to try out passages of it, and to study the music.

I've listened to a bassoonist friend try out The Five Sacred Trees, quite enjoyable Pity he's now at the other end of the country.

[Saxbabe 28]

In a recent interview, Joel McNeely said he's trying to put together a CD of chamber music, including his own, and pieces from Williams, Herrmann, and other "film composers". I wasn't aware that Williams even wrote any chamber music. Unless, of course, he wasn't talking about concert work, and meant something like pieces from Jane Eyre.

Tim

I believe he meant "concert" music of film composers, if that's the interview I'm thinking of from Scorenotes.com. If he said chamber music, he was referring to his own - McNeely's few concert works so far have been chamber pieces, his latest of which I'll be going to see him conduct in a few weeks in Houston.

Greta

[#SnowyVernalSpringsEternal 10,265]

Cool!

[tjguitar 0]

As far as JW concert work goes, my favorite is the various olympic stuff (especially the popular theme we hear on NBC every year, but I like pretty much that entire Denver Brass CD of his film and concert stuff.)

My favorite concert work by a film composer is Kamen's concerto for electric guitar, with the sax concerto close behind....

[nightscape94 965]

In a recent interview, Joel McNeely said he's trying to put together a CD of chamber music, including his own, and pieces from Williams, Herrmann, and other "film composers". I wasn't aware that Williams even wrote any chamber music. Unless, of course, he wasn't talking about concert work, and meant something like pieces from Jane Eyre.

Tim

I believe he meant "concert" music of film composers, if that's the interview I'm thinking of from Scorenotes.com. If he said chamber music, he was referring to his own - McNeely's few concert works so far have been chamber pieces, his latest of which I'll be going to see him conduct in a few weeks in Houston.

Greta

Honestly, I don't remember where the interview is from. I know it's an audio interview. He was, in fact, speaking about concert material, I just mentioned "Jane Erye" in case he was referring to a concert suite of the score music. In the interview he clearly states that he is working on making a CD of chamber music including Williams, Herrmann, and others, including his own.

Tim

[Incanus 5,714]

Recently I have been repeatedly listening to The Five Sacred Trees, Williams' concerto for bassoon. The more I listen to it the more enchanted I become with it. It feels so heartfelt and intimate and utilizes the beautiful instrument so variedly and showcases all its facets. Williams was inspired to write the piece by the Celtic mythology and the stories of the five sacred trees and by his love and respect for the Nature. His work creates a veritable musical forest that is in turn dense and dark then transclusent and full of light and suddenly mysterious and contemplative just like ancient woods could be. The music is mainly lyrical, slow and contemplating conjuring the immense age of trees and their great slow wisdom as it were. Suddenly it can rise into great heights like an ancient tree reaching for the sun and air. Bassoon has an immense expressive range which captures in its timbre the "wooden" sound of trees perfectly, whether low and often mournful, thoughtful and gentle or agitated and dancing, springing sprightly among the orchestra's musical boughs. The orchestration is absolutely wonderful creating a magical atmosphere throughout the whole work. Williams allows the bassoon to carry large portions of the work almost unaccompanied showcasing how well the instrument can stand on its own. And it does.

I Eó Mugna: The Oak is painted with low, comtemplative, lyrical sololine for bassoon before adding more instruments into the orchestration. Then suddenly the movement rises ever higher and higher carried by strings and brass, as if in exsultation of living world and the majesty of the Oak before returning to a thoughtful solo which restates the theme of the movement accompanied by flute and low strings.

II Tortan: The tree associated with magic, especially witchcraft receives a furious and ecstatic dance movement. The bassoon dances and whirls in the orchestral canvas with glee accompanied again by flute but also this time by violin. The movement paints to me a picture of a pagan ritual, a dance of witches, getting faster and more agitated by the minute. Violin played in scratchy tones punctuated by percussion and the dancing bassoon figures have an edge of michievous malevolence. The music ends in a furious finale with a false ending again representing this slightly playful but somehow frightening tree of the witches. I have admit this dance macabre reminds me more than a bit of The Witches of Eastwick in its tone and style.

III Eó Rossa: The Yew, this tree had power over destruction and rebirth. This movement begins with a harp solo which is soon joined by bassoon. The tone is very contemplative and mysterious, almost sad. Slowly the orchestra comes in the latter half of the movement but only as a light touch. This movement belongs to the bassoon alone. Perhaps my favourite movement in the work. The music is simply entrancing.

You can almost hear the trees themselves in this music recounting the continual cycle of their long lives.

IV Craeb Uisnig: The Ash, tree of strife is presented in agitated bassoon line accompanied by percussion, plucked strings and woodwinds all whirling in a bundle. This all represents strife admirably creating and orchestral sound that is devoid of any identifiable melody but it is rather a fast and furious dash, darting whichever way, making sudden turns almost battling with itself.

V Dathi: This tree was the muse of Poets. Music starts apprehensive and almost tortured in the first two minutes. Woodwinds create a net of clashing tones that melt into the strings which continue untill bassoon glides in almost out of nowhere playing a peaceful and positive melodic line. Here Williams allows the bassoon to sing a wonderful and gentle melody duetting with flute on the backdrop of strings which gradually rises to a crescendo and again melts into the solo bassoon weaving another lyrical line into the movement. The end of the movement is very mysterious and warm as the bassoon slowly disappears in the mist of strings and harp as we are leaving the mystical forest and age behind us, saying goodbye to the five sacred trees.

[Miguel Andrade 1,263]

Recently I have been repeatedly listening to The Five Sacred Trees, Williams' concerto for bassoon. The more I listen to it the more enchanted I become with it. It feels so heartfelt and intimate and utilizes the beautiful instrument so variedly and showcases all its facets. Williams was inspired to write the piece by the Celtic mythology and the stories of the five sacred trees and by his love and respect for the Nature. His work creates a veritable musical forest that is in turn dense and dark then transclusent and full of light and suddenly mysterious and contemplative just like ancient woods could be. The music is mainly lyrical, slow and contemplating conjuring the immense age of trees and their great slow wisdom as it were. Suddenly it can rise into great heights like an ancient tree reaching for the sun and air. Bassoon has an immense expressive range which captures in its timbre the "wooden" sound of trees perfectly, whether low and often mournful, thoughtful and gentle or agitated and dancing, springing sprightly among the orchestra's musical boughs. The orchestration is absolutely wonderful creating a magical atmosphere throughout the whole work. Williams allows the bassoon to carry large portions of the work almost unaccompanied showcasing how well the instrument can stand on its own. And it does.

I Eó Mugna: The Oak is painted with low, comtemplative, lyrical sololine for bassoon before adding more instruments into the orchestration. Then suddenly the movement rises ever higher and higher carried by strings and brass, as if in exsultation of living world and the majesty of the Oak before returning to a thoughtful solo which restates the theme of the movement accompanied by flute and low strings.

II Tortan: The tree associated with magic, especially witchcraft receives a furious and ecstatic dance movement. The bassoon dances and whirls in the orchestral canvas with glee accompanied again by flute but also this time by violin. The movement paints to me a picture of a pagan ritual, a dance of witches, getting faster and more agitated by the minute. Violin played in scratchy tones punctuated by percussion and the dancing bassoon figures have an edge of michievous malevolence. The music ends in a furious finale with a false ending again representing this slightly playful but somehow frightening tree of the witches. I have admit this dance macabre reminds me more than a bit of The Witches of Eastwick in its tone and style.

III Eó Rossa: The Yew, this tree had power over destruction and rebirth. This movement begins with a harp solo which is soon joined by bassoon. The tone is very contemplative and mysterious, almost sad. Slowly the orchestra comes in the latter half of the movement but only as a light touch. This movement belongs to the bassoon alone. Perhaps my favourite movement in the work. The music is simply entrancing.

You can almost hear the trees themselves in this music recounting the continual cycle of their long lives.

IV Craeb Uisnig: The Ash, tree of strife is presented in agitated bassoon line accompanied by percussion, plucked strings and woodwinds all whirling in a bundle. This all represents strife admirably creating and orchestral sound that is devoid of any identifiable melody but it is rather a fast and furious dash, darting whichever way, making sudden turns almost battling with itself.

V Dathi: This tree was the muse of Poets. Music starts apprehensive and almost tortured in the first two minutes. Woodwinds create a net of clashing tones that melt into the strings which continue untill bassoon glides in almost out of nowhere playing a peaceful and positive melodic line. Here Williams allows the bassoon to sing a wonderful and gentle melody duetting with flute on the backdrop of strings which gradually rises to a crescendo and again melts into the solo bassoon weaving another lyrical line into the movement. The end of the movement is very mysterious and warm as the bassoon slowly disappears in the mist of strings and harp as we are leaving the mystical forest and age behind us, saying goodbye to the five sacred trees.

Hopefully, one will never really say goodbye to this five sacred trees

Thank you so much for your thoughts. I was overwelmed by your insight.

As a lover of trees and their stories, I immersed myself on the stories of this trees that the Celts so rigthly adored.

The Oak, the king or God tree in many coltures, including the celtic one, is in fact the ultimate tree of magic. It was around her that druids would join in there meetings. It was the great Oak that stood guardian of the magic forest. And eventually, it was also the Oak that led the other trees to battle. It was of its wood that the lighnings of Zeus were made of. And untill Christianism, the Oak was always revered as the Tree of Trees.

It was a comom assuption that near any Oak you were bound to find fairies -- I know I have I actually imagine this fairies as being the Oak leaves, and is a blessing when at autumn, they softly fall over you.

This tree in particular as a great inpact on me, and I've always found that Williams was perfectly able to convey both is magical, majestic and intimate charachteristics.

The notes to the CD and the ones that acompany the printed score, and somewhat missleading regarding the trees that are described. Both Tortan and Dathi were probably Ash-trees. There was in many pagan societies great cult for this trees, and is not unlikely that more than one of this five trees were in fact Ash-trees. Craeb Uisinig might also have been an Ash, but acording to some of my readings, it may also have been a Blackthorn.

Eó Rossa, or the Tree of Ross, offer no doubts that it was an Yew.

I do feel, that Williams love for the tree comunity is very much present in most of his concert works, surelly on his Concertos, even those that don't express that as directly as this one -- i.e. on his subtitle. But I do feel his love for trees on his Cello, Clarinet and Horn Concerti.

And on a very personal level, is such a joy to know that I share this passion for trees and their mithology with John Williams.

[Incanus 5,714]

We definitely should not say goodbye to these five sacred trees. They create endless fascination, admiration and inspiration.

Thank you for your deep insights and thoughts to the sacred trees mythos Miguel! Very interesting. It is nice to know that there are people who share this fascination for the trees and their mystical qualities and their importance for humanity as a part of nature, and if my favourite composer shares this fascination it is even better. Williams' expression of this love and admiration for the natural world is so eloquent and deep that it says more than words ever could about it.