John Williams' Horn Concerto last mvmt

[David Coscina 4]

While I have always enjoyed the maestro's film and concert works alike, I have found his film scores more emotionally approachable, while I have appreciated his concert works on a cerebral level. I must say though that the final mvmt of his Horn Concerto is really beautiful and very moving for me. Its string elegy reminds me a little bit of Harold's Funeral from Nixon the way it shifts around a tonal centre but is a little "off" harmonically. I also love the thematic imitation that Williams employs on the recap section with the strings foreshadowing the horn line. I believe this is one of Williams' finest works in the last few years, infinitely more enjoyable than Indy 4. Anyone else find this about this work?

[Incanus 5,722]

While I have always enjoyed the maestro's film and concert works alike, I have found his film scores more emotionally approachable, while I have appreciated his concert works on a cerebral level. I must say though that the final mvmt of his Horn Concerto is really beautiful and very moving for me. Its string elegy reminds me a little bit of Harold's Funeral from Nixon the way it shifts around a tonal centre but is a little "off" harmonically. I also love the thematic imitation that Williams employs on the recap section with the strings foreshadowing the horn line. I believe this is one of Williams' finest works in the last few years, infinitely more enjoyable than Indy 4. Anyone else find this about this work?

While I would not put the concerto above any recent film works the Horn Concerto is one of my favourites as well, in the top 3 of his concert pieces. I have always found that despite writing somewhat different style of music for concert hall, the music retains the good qualities of Williams' style. They are lyrical, varied, extremely well orchestrated and more often than not very accessible. The final movement The Crimson Day Withdraws is absolutely gorgeous in the manner of so many Williams concert work finales that have that singing lyrical quality to them. Here he lets the horn sing in such a beautiful and emotional way, the music expressing almost a quiet letting go or goodbyes and acceptance. Poignant would be a good word to describe it. The energetic middle section offers nice contrast to the gentle and slightly melancholy main idea of the music to which the horn returns at the end. I love how serene and at peace the horn solo is in those final moments.

[Thor 7,553]

I downloaded this awhile back, but haven't played it much. I should give it another go. Thanks for the reminder.

[Sandor 798]

I really enjoy the final movement. It's hauntingly beautiful. It might be my favorite Williams concert work aside from his first Violin Concerto.

[Joe Brausam 215]

I performed this movement at a recital in April 2010, I loved playing it! So beautiful, and one of my favorite melodies by Williams. Te recapitulation, I agree, is incredible.

[King Mark 3,631]

It's nice, but I don't rate it above some of his better recent film cues

Williams will always shine best in his film scores to me

[TownerFan 4,991]

While I have always enjoyed the maestro's film and concert works alike, I have found his film scores more emotionally approachable, while I have appreciated his concert works on a cerebral level. I must say though that the final mvmt of his Horn Concerto is really beautiful and very moving for me. Its string elegy reminds me a little bit of Harold's Funeral from Nixon the way it shifts around a tonal centre but is a little "off" harmonically. I also love the thematic imitation that Williams employs on the recap section with the strings foreshadowing the horn line. I believe this is one of Williams' finest works in the last few years, infinitely more enjoyable than Indy 4. Anyone else find this about this work?

I agree with you that the last movement is probably one of Williams' most inspired and lyrical creations to date. The Horn Concerto seems to be also one of his most intimate, personal concert works. Despite he always says that he doesn't write concert music just for the sake of waving a red flag saying "Hey, it's me!", I hear Williams' most inner self in this piece (as I hear also in the wonderful last movement of the Bassoon Concerto, a work very closely tied to the Horn Concerto). There's a very wistful, contemplative feel all throughout the piece that imho speaks a lot about Williams' own spirituality.

[Incanus 5,722]

I agree with you that the last movement is probably one of Williams' most inspired and lyrical creations to date. The Horn Concerto seems to be also one of his most intimate, personal concert works. Despite he always says that he doesn't write concert music just for the sake of waving a red flag saying "Hey, it's me!", I hear Williams' most inner self in this piece (as I hear also in the wonderful last movement of the Bassoon Concerto, a work very closely tied to the Horn Concerto). There's a very wistful, contemplative feel all throughout the piece that imho speaks a lot about Williams' own spirituality.

Well said.

Williams' concert work most often reveal some of his inner self even more clearly than his film work although they share many of the same qualities. I find that the same lyrical soul inhabits the concertos that are as much a display of virtuosity as they are a reflection of the musical gifts of the person they were written for, the inspiration in Williams' own words coming from their musical personality and qualities of the player in the way his inspiration for film scores comes off the screen. But when I listen to the final movements of many of Williams' concertos the singing quality is very apparent (even in the titles of the movements), sometimes joyous, sometimes contemplative, sometimes sad or peaceful but always touching. He seems to translate his love of the instruments and the performers into these gorgeous musical ruminations that sum up the whole work in question in the most beautiful and satisfying way possible.

[Andrés Valvader 21]

HORN CONCERTO (ANALISIS-AUDITION GUIDE)

This is my exclusive análisis about this work.

Andrés Valverde (John Williams Composer Blog)

Greetings!!

[BLUMENKOHL 1,068]

I missed this thread last week! The final movement is very beautiful indeed.

I love the moment around 2:43-2:52 (but it has to be in the context of everything around it). It reminds me of what I often associate with Prokofiev doing. I love it when composers pepper little bits of easy, familiar, emotional simplicity that you can quickly latch on to in the midst of something a little more mentally robust.

You can see they're thinking about the architecture of the piece on another level, where complexity and simplicity (and the familiar and unknown) and the contrast between them is being used to carry your attention. It's exactly like how a photographer composes a shot, using every aspect of the shot to create emotion, varying complex patterns with monolithic objects, and the most basic elements often times serve as the anchor in the ambiguity.

[Incanus 5,722]

I missed this thread last week! The final movement is very beautiful indeed.

I love the moment around 2:43-2:52 (but it has to be in the context of everything around it). It reminds me of what I often associate with Prokofiev doing. I love it when composers pepper little bits of easy, familiar, emotional simplicity that you can quickly latch on to in the midst of something a little more mentally robust.

You can see they're thinking about the architecture of the piece on another level, where complexity and simplicity (and the familiar and unknown) and the contrast between them is being used to carry your attention. It's exactly like how a photographer composes a shot, using every aspect of the shot to create emotion, varying complex patterns with monolithic objects, and the most basic elements often times serve as the anchor in the ambiguity.

Well put.

[Brónach 1,302]

Is this on CD?

[David Coscina 4]

I missed this thread last week! The final movement is very beautiful indeed.

I love the moment around 2:43-2:52 (but it has to be in the context of everything around it). It reminds me of what I often associate with Prokofiev doing. I love it when composers pepper little bits of easy, familiar, emotional simplicity that you can quickly latch on to in the midst of something a little more mentally robust.

You can see they're thinking about the architecture of the piece on another level, where complexity and simplicity (and the familiar and unknown) and the contrast between them is being used to carry your attention. It's exactly like how a photographer composes a shot, using every aspect of the shot to create emotion, varying complex patterns with monolithic objects, and the most basic elements often times serve as the anchor in the ambiguity.

Wonderful post. I like your analogy to photography. It's truly a magical thing when inspiration, talent and technique collide as is the case with John Williams.

[Thor 7,553]

Is this on CD?

No, it's only available as a download. I think it was supposed to come out on CD eventually, but I waited almost a year for it to happen, and when it didn't, I just said "Screw it!" and downloaded from iTunes.

[crocodile 8,027]

Same here.

Karol

[boblet 0]

Hi,

I'm currently studying the Horn Concerto for my dissertation at university, and am trying to find out where the poetic quotes he uses for each movement come from. I think I've found all of the poems except tfor the last movement; 'The Crimson Day Withdraws'. Does anyone know where this is from?

[Incanus 5,722]

Hi,

I'm currently studying the Horn Concerto for my dissertation at university, and am trying to find out where the poetic quotes he uses for each movement come from. I think I've found all of the poems except tfor the last movement; 'The Crimson Day Withdraws'. Does anyone know where this is from?

I believe it is from William Wordsworth's poem The Wishing Gate:

Second to last verse:

Misgiving, while the crimson day

In quietness withdraws;

As an interesting coincidence the liner notes of War Horse soundtrack reveal Williams to be fan of Wordsworth's poetry whose works Spielberg refers to as part of the inspiration for this particular score.

http://www.jwfan.com/?p=1309#more-1309