BPO Williams Tribute

[Tom 4,673]

Did anyone here attend the concert?  It sounds like it was very well done.  

 

https://www.bostonglobe.com/2023/09/25/arts/pops-salute-john-williams-conjures-movie-magic/

[rough cut 1,714]

Paywall.

[Ricard 2,245]

Here's a promotional video for this and the 'Star Wars: The Story in Music' concert:

 

 

And some concert photos from the Boston Pops:

 

[Tom 4,673]

Do we know what the pianist performed?  I read through the Globe article and it does not mention him.  Devil's Dance was the full orchestral version.  

 

I suppose I want to know if The Fabelmans was premiered.  

[Matt S. 493]

I went to the Friday night concert; the violinist Mone Hattori also played an encore with the orchestra after her two programmed selections; it was piece written by her father who is a television and film composer in Japan.  I don’t know if they played any encores at the Saturday concert, but it doesn’t look like The Fabelmans was performed.

 

The one encore after the end of the full concert on Friday was The Cantina Band.

 

[WilliamsStarShip2282 308]

This is a slightly shorter version of the video concert during covid right?

[pete 907]

On 01/10/2023 at 6:13 AM, rough cut said:

Paywall.

 I got around it by searching "pops-salute-john-williams-conjures-movie-magic/" in Google Search, and then the article was visible. I got the same paywall message at first from the link in the original post. 

 

[Ricard 2,245]

11 hours ago, pete said:

 I got around it by searching "pops-salute-john-williams-conjures-movie-magic/" in Google Search, and then the article was visible. 

 

Doesn't work for me. Can you copy-paste the article here?

[KittBash 282]

Hey @rough cut, @Ricard

 

Sometimes if you use Safari incognito and the reader view you can get the article text.  Article is in Spoiler block below

 

Spoiler

https://www.bostonglobe.com/2023/09/25/arts/pops-salute-john-williams-conjures-movie-magic/

A Pops salute to John Williams conjures movie magic

By Marc Hirsh Globe correspondent,Updated September 25, 2023, 1:34 p.m.

Keith Lockhart conducts the Boston Pops Esplanade Orchestra in a tribute to John Williams Saturday at Symphony Hall.Hilary Scott

“I’m very lucky.” So said John Williams (by video) Friday night at Symphony Hall, having spent nearly two hours unpacking selected highlights from his 65-year career as a film composer as Keith Lockhart, clad in black shirtsleeves and suspenders, conducted the Boston Pops Esplanade Orchestra. And while luck is always a wild-card factor in any success, it’s hard not to dismiss Williams’s comment as false humility, coming as it does from the man from whom the most indelible movie scores of the last half century poured forth like a fountain.

There’s a reason, after all, that the Pops regularly salute Lockhart’s predecessor — okay, maybe more than one — and the weekend’s programming was devoted to the 91-year-old legend behind the music from that movie. And that one. Yes, that one too. To understand his reach, consider that a child too young to have seen “Jaws” still knows that what Lockhart called “the two most famous notes in movie history” signify “shark.”

John Williams is projected on a screen above the orchestra at Symphony Hall.Hilary Scott

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Friday served as a sampler of an oeuvre so vast that there wasn’t even space for “E.T.” or “Jurassic Park,” though they both appeared in the montage of Williams-scored films that played over the opening “‘Superman’ March.” (The T. Rex grabbing the velociraptor at the precise moment of a stab of brass was a nice, thrilling touch.) In their place were selections it’s easy to assume are personal favorites of Williams, including the main title from “The Towering Inferno,” which rose up and soared, and the mischievous and playful “Devil’s Dance” from “The Witches of Eastwick,” with its cellos going berserk underneath cracked church bells.

The Pops also nodded to its upcoming Japanese tour (its first in two decades) by featuring the North American debut of violinist Moné Hattori, whose staccato, aggressive bowing danced playfully on her strings for a “Far and Away” suite and whose tremulous phrasing on “The Chairman’s Waltz” (from “Memoirs of a Geisha”) played against a pedal-point harp that descended like a flower petal floating to the ground. Her father Takayuki Hattori’s " Les Enfants De La Terre” was Friday’s only non-Williams selection, though its soft horn swells, warm string pulls, and clear throughline revealed a distinct Williams influence.

Japanese violinist Moné Hattori, in her North American debut, joined the Pops in a tribute to John Williams Friday night at Symphony Hall.Winslow Townson

If Friday’s program was the hits, Saturday’s was the full-album run-through, focusing exclusively on “Star Wars” music. In his introduction, Lockhart suggested that you could understand what was happening in the films simply by listening to Williams’s evocative scores, and unlike the previous night’s selections from “Close Encounters of the Third Kind,” “Harry Potter,” and “Raiders of the Lost Ark,” there was no movie footage accompanying the music. Instead, the Pops let actor Jeremiah Kissel run wild, with breathless narration that encompassed impressions (from Darth Vader to Yoda to a phlegmatic General Grievous), jokes, and occasional good-natured commentary on the silliness of the saga. When he announced that the long-dead Palpatine had somehow returned in “The Rise of Skywalker,” Lockhart interjected with an exasperated “Oh, come on.”

Mostly, though, the program displayed the awesome reach, breadth, and depth of Williams’s 42-year project. The sharp slashes of the gladiatorial “Duel of the Fates,” the courtly and lyrical (with gathering storm clouds) “Across the Stars,” the darting desperation of “Rey’s Theme,” the swooping and grand “Yoda’s Theme,” and the ragtag galumphing of “Parade of the Ewoks” all captured entirely imaginary worlds and creatures with clarity and empathy, to say nothing of the shiver of the main “Star Wars” theme.

“Cantina Band,” an unlisted encore for Friday’s concert, dialed that up to 11. With its loopy clarinets, lush strings, and clonking, whiz-bang percussion, it capitalized on the Pops’ strength as a swing band and seemed like it belonged in a nightclub in Coruscant more than a dive bar in Tatooine. Then again, Williams’s music is at home just about anywhere.

Marc Hirsh can be reached at officialmarc@gmail.com or on Twitter @spacecitymarc

THE BOSTON POPS: A CELEBRATION OF JOHN WILLIAMS

At Symphony Hall, Friday and Saturday

 

[BB-8 3,483]

Why Gerschwin?

 

Does this imply that the JW piano concerto was planned but not ready?

 

[Miguel Andrade 1,264]

4 hours ago, BB-8 said:

Why Gerschwin?

 

Does this imply that the JW piano concerto was planned but not ready?

 

 

Not at all. The Williams concerto is being written for Emanuel Ax.

[WilliamsStarShip2282 308]

18 hours ago, BB-8 said:

Why Gerschwin?

 

Does this imply that the JW piano concerto was planned but not ready?

 

 

There is a youth competition every year where the winner gets to play on a Pops concert.

[Matt S. 493]

11 hours ago, WilliamsStarShip2282 said:

 

There is a youth competition every year where the winner gets to play on a Pops concert.

 

I don't think that was the reason this pianist was there, however.  As Keith explained at the Friday concert, the Pops Esplanade Orchestra was about to head to Japan for a tour, and these artists, Hayato Sumino and Mone Hattori, would be appearing with them; as a courtesy, they brought them to Boston to perform with the orchestra ahead of time (and consequently make their North American debuts).

 

As for JW's piano concerto, I can't possibly imagine it being premiered at an off-season concert by the Pops' backup orchestra.

 

 

[WilliamsStarShip2282 308]

11 hours ago, Matt S. said:

 

I don't think that was the reason this pianist was there, however.  As Keith explained at the Friday concert, the Pops Esplanade Orchestra was about to head to Japan for a tour, and these artists, Hayato Sumino and Mone Hattori, would be appearing with them; as a courtesy, they brought them to Boston to perform with the orchestra ahead of time (and consequently make their North American debuts).

 

As for JW's piano concerto, I can't possibly imagine it being premiered at an off-season concert by the Pops' backup orchestra.

 

 

 

Well thats odd, I mean JW has written some pretty good piano pieces they could have played, why Gershwin.... but anyway highly doubt it will be premiered outside of Tanglewood since Manny Ax lives there and JW is there every summer.

 

[AOP 259]

Just came back from seeing the Tokyo performance of the JW tribute! Here’s my mini review 😊

 

***
 

Although I originally planned to not go to this concert as I have a policy for only seeing live concerts conducted by the original composer, I was so impressed by the last Williams concert at Suntory Hall that I promptly changed my mind. I just couldn’t get enough of those incredible Williams melodies live in concert… and to hear them being played by the world-renowned Boston Pops Esplanade Orchestra who had last performed in Japan over 20 years ago? A no-brainer!

 

After some introductory words (in Japanese no less!) from the conductor, the concert began with the instantly recognizable trumpet notes from SUPERMAN while a montage of movies from Williams’ extensive body of work played on large screens.

 

After the applause died down, one of many short video interviews with Williams appeared on the screens to provide some context to the next piece being played.

 

His anecdote about THE TOWERING INFERNO was as surprising as it was amusing when he mentioned that the producer only liked his music after he highlighted the producer’s name musically during the credits! Honestly, I had never really been a big fan of THE TOWERING INFERNO, but after hearing this spirited performance, I know what I’ll be listening to as soon as I get home tonight!

 

The suite from CLOSE ENCOUNTERS OF THE THIRD KIND was a stunning showcase of the perfect marriage between music and image. Along with a perfectly edited video montage from the film, the music went from a feeling of dread and despair to a deep sense of wonderment and elation. The audience was truly spellbound during the whole piece… you could literally hear a pin drop.

 

The main theme from SABRINA dazzled with its delicate piano and romantic string and flute parts. The guest pianist, Hayato Sumino, performed to perfection and received hearty applause after the piece.

 

After the interval, we were treated to the main theme from JURASSIC PARK. Unfortunately, the French horn player flubbed the fourth note of the opening solo... a small sour point in an otherwise excellent performance.

 

Together with an inspiring video montage of Olympians and their incredible achievements over the years, the sounds of the OLYMPIC FANFARE AND THEME filled the auditorium with feelings of heroism, courage and determination. I’m certainly no sportsman, but after hearing that piece, I felt I could take on the world! 

 

The main theme from SCHINDLER’S LIST was preceded by an interview clip of Williams explaining how he favoured the “Remembrances” theme over the “Main theme.” It was somewhat odd then that the “Main theme” was performed right after! In any case, it was a deeply moving  performance of the theme that was greatly received by the audience.

 

The last three pieces were from STAR WARS: “Yoda’s theme,” “Rey’s theme,” and the iconic “Star Wars: Main title.” All were perfectly performed with “Rey’s theme” being a particular standout. The clarity of the woodwind instruments during that piece really helped the piece shine. Just lovely.

 

The encore for the night was “Cantina band” from STAR WARS. It was a fun and vibrant performance that I’m sure put a smile on many faces… mine included! It was a perfect way to end the concert and yet another reminder that Williams has been, and always will be, the very best.

 

I can’t wait for tomorrow’s all-STAR WARS concert!

[Mr. Hooper 1,805]

Glad you enjoyed it! Cantina Band is a quirky choice for the encore, I gotta say...but for a reason I can't articulate even after living in Japan for 8 years, it seems like a perfect choice for a Japanese audience.

[AOP 259]

12 minutes ago, Mr. Hooper said:

Glad you enjoyed it! Cantina Band is a quirky choice for the encore, I gotta say...but for a reason I can't articulate even after living in Japan for 8 years, it seems like a perfect choice for a Japanese audience.

Indeed! They really ate up that encore.

 

I hope I don’t hear the same encore at tomorrow’s Star Wars concert!!

 

8 years in Japan? Nice! I originally planned to be here for 1 year but that  has now turned into 20… 😂

 

 

[Mr. Hooper 1,805]

As you know, many expats start with that "1 year plan", that quickly turns into 2, then 8, then 20!

 

If I'd married, I'd probably still be there. It's already been 10 years since I've "revolved back to the world", as I call it. Would love to go back for a visit!

 

Maybe tomorrow's encore will be Cantina Band #2!

[AOP 259]

15 hours ago, Mr. Hooper said:

As you know, many expats start with that "1 year plan", that quickly turns into 2, then 8, then 20!

 

If I'd married, I'd probably still be there. It's already been 10 years since I've "revolved back to the world", as I call it. Would love to go back for a visit!

 

Maybe tomorrow's encore will be Cantina Band #2!

Just coming home from SW concert - no encore! But Cantina Band made an appearance though… complete with Keith Lockheart kicking into the air on the last note!!

“Revolved back to the world”… haha. I know exactly what you mean! I’m still living “the dream”… not as an English teacher luckily!

 

[Ricard 2,245]

23 hours ago, AOP said:

Just came back from seeing the Tokyo performance of the JW tribute! Here’s my mini review 😊

 

***
 

Although I originally planned to not go to this concert as I have a policy for only seeing live concerts conducted by the original composer, I was so impressed by the last Williams concert at Suntory Hall that I promptly changed my mind. I just couldn’t get enough of those incredible Williams melodies live in concert… and to hear them being played by the world-renowned Boston Pops Esplanade Orchestra who had last performed in Japan over 20 years ago? A no-brainer!

 

After some introductory words (in Japanese no less!) from the conductor, the concert began with the instantly recognizable trumpet notes from SUPERMAN while a montage of movies from Williams’ extensive body of work played on large screens.

 

After the applause died down, one of many short video interviews with Williams appeared on the screens to provide some context to the next piece being played.

 

His anecdote about THE TOWERING INFERNO was as surprising as it was amusing when he mentioned that the producer only liked his music after he highlighted the producer’s name musically during the credits! Honestly, I had never really been a big fan of THE TOWERING INFERNO, but after hearing this spirited performance, I know what I’ll be listening to as soon as I get home tonight!

 

The suite from CLOSE ENCOUNTERS OF THE THIRD KIND was a stunning showcase of the perfect marriage between music and image. Along with a perfectly edited video montage from the film, the music went from a feeling of dread and despair to a deep sense of wonderment and elation. The audience was truly spellbound during the whole piece… you could literally hear a pin drop.

 

The main theme from SABRINA dazzled with its delicate piano and romantic string and flute parts. The guest pianist, Hayato Sumino, performed to perfection and received hearty applause after the piece.

 

After the interval, we were treated to the main theme from JURASSIC PARK. Unfortunately, the French horn player flubbed the fourth note of the opening solo... a small sour point in an otherwise excellent performance.

 

Together with an inspiring video montage of Olympians and their incredible achievements over the years, the sounds of the OLYMPIC FANFARE AND THEME filled the auditorium with feelings of heroism, courage and determination. I’m certainly no sportsman, but after hearing that piece, I felt I could take on the world! 

 

The main theme from SCHINDLER’S LIST was preceded by an interview clip of Williams explaining how he favoured the “Remembrances” theme over the “Main theme.” It was somewhat odd then that the “Main theme” was performed right after! In any case, it was a deeply moving  performance of the theme that was greatly received by the audience.

 

The last three pieces were from STAR WARS: “Yoda’s theme,” “Rey’s theme,” and the iconic “Star Wars: Main title.” All were perfectly performed with “Rey’s theme” being a particular standout. The clarity of the woodwind instruments during that piece really helped the piece shine. Just lovely.

 

The encore for the night was “Cantina band” from STAR WARS. It was a fun and vibrant performance that I’m sure put a smile on many faces… mine included! It was a perfect way to end the concert and yet another reminder that Williams has been, and always will be, the very best.

 

I can’t wait for tomorrow’s all-STAR WARS concert!

 

 

Thanks for the great review. Do you have a picture of the full program?

 

[Mr. Hooper 1,805]

8 hours ago, AOP said:

I know exactly what you mean! I’m still living “the dream”…

It was a dream-like interval... And it was strange to come back home and pick up my life here again.

 

Lockhart did a high kick? That's showmanship!

[AOP 259]

7 hours ago, Ricard said:

 

 

Thanks for the great review. Do you have a picture of the full program?

 

I don’t have a scanner, so I hope these camera photos will do! It’s about 20 or so pages in total, so I just took photos of the Williams-related pages. If you want to see more, let me know 👍

6 hours ago, Mr. Hooper said:

It was a dream-like interval... And it was strange to come back home and pick up my life here again.

 

Lockhart did a high kick? That's showmanship!

Yep, reverse culture shock. I feel it every time I return to Australia on holiday!!

 

It wasn’t a high kick… more like a pass in soccer 😂