John Williams
John Williams | |
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Born | John Towner Williams February 8, 1932 New York City, U.S. |
Occupations |
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Years active | 1952–present |
Works | List of compositions |
Spouses |
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Children | 3, including Joseph |
Parent |
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Signature | |
John Towner Williams (born February 8, 1932)[1][2][3] is an American composer and conductor. In a career that has spanned seven decades, he has composed some of the most popular, recognizable and critically acclaimed film scores in cinema history.[4][5][6] He has a very distinct sound that mixes romanticism, impressionism and atonal music with complex orchestration.[7] He is best known for his collaborations with Steven Spielberg and George Lucas and has received numerous accolades including 26 Grammy Awards, five Academy Awards, seven BAFTA Awards, three Emmy Awards and four Golden Globe Awards. With 54 Academy Award nominations, he is the second-most nominated person, after Walt Disney, and is the oldest Oscar nominee in any category, at 91 years old.[8]
Williams's early work as a film composer includes
Williams has also composed numerous classical concertos and other works for orchestral
He has received numerous honors, including the
Early life and family
John Towner Williams was born in Flushing, Queens, New York City, to Esther (née Towner) and Johnny Williams,[16] a jazz drummer and percussionist who played with the Raymond Scott Quintet. He has an older sister, Joan,[17][18] and two younger brothers, Jerry and Don, who play on his film scores.[19] Williams said of his lineage: "My father was a Maine man—we were very close. My mother was from Boston. My father's parents ran a department store in Bangor, Maine, and my mother's father was a cabinetmaker."[20] Johnny Williams collaborated with Bernard Herrmann, and his son sometimes joined him in rehearsals.[21]
In 1948, the Williams family moved to Los Angeles where John attended
In 1955, following his Air Force service, Williams moved to New York City and entered Juilliard, where he studied piano with Rosina Lhévinne.[22] He was originally set on becoming a concert pianist, but after hearing contemporary pianists like John Browning and Van Cliburn perform, he switched his focus to composition.[29] "It became clear," he recalled, "that I could write better than I could play." During this time Williams worked as a pianist in many of the city's jazz clubs.
Early career
After his studies at Juilliard and the Eastman School of Music, Williams went to Los Angeles where he began working as an orchestrator at film studios. Williams worked with such composers as Franz Waxman, Bernard Herrmann and Alfred Newman, and with fellow orchestrators Conrad Salinger and Bob Franklyn.[30]
Williams was also a studio pianist and session musician, performing on scores by such composers as Jerry Goldsmith, Elmer Bernstein and Henry Mancini. With Mancini, he recorded the scores of Peter Gunn (1959), Days of Wine and Roses (1962) and Charade (1963). Williams played the piano part of the guitar-piano ostinato in Mancini's Peter Gunn title theme.[31] With Elmer Bernstein, he performed on the score of Alexander Mackendrick's Sweet Smell of Success (1957). Williams was the pianist on the scores of Billy Wilder's The Apartment (1960) and Robert Wise's West Side Story (1961).[32]
Known as Johnny Williams during this period, he released several jazz albums under this name, including World on a String and The John Towner Touch.[32] Williams also served as music arranger and bandleader for a series of popular music albums with the singers Ray Vasquez and Frankie Laine.[33][34]
Film and television scoring
While fluent in many 20th-century musical languages, Williams's most familiar style is
1954–1973: Rise to prominence
Williams wrote his first film composition in 1954 while stationed at Pepperrell Air Force Base. It was for You Are Welcome, a promotional film for the Newfoundland tourist information office.[25] Williams's first feature film composition was for Daddy-O (1958), and his first screen credit came two years later in Because They're Young. Williams also composed music for television, including the pilot episode of Gilligan's Island,[38] Bachelor Father (1959–60), the Kraft Suspense Theatre, Lost in Space (1965–1968), The Time Tunnel (1966–67) and Land of the Giants, the last three created by the prolific producer Irwin Allen.[39] He also worked on several episodes of Checkmate (1960–1962) and M Squad.[40]
Williams called
1974–present: Collaborations with Steven Spielberg
Williams's scores for The Reivers and The Cowboys impressed a young
Williams scored
Spielberg chose Williams to score Raiders of the Lost Ark (1981), from a story by George Lucas and Philip Kaufman. Williams wrote a rousing main theme, "The Raiders March", for the film's hero, Indiana Jones, and separate themes to represent the eponymous Ark of the Covenant, Jones's love interest Marion Ravenwood, and the film's Nazi villains. Additional themes were featured in his scores for Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), Indiana Jones and the Kingdom of the Crystal Skull (2008) and Indiana Jones and the Dial of Destiny (2023). Spielberg emphasized the importance of Williams's score to the Indiana Jones pictures: "Jones did not perish, but listened carefully to the Raiders score. Its sharp rhythms told him when to run. Its slicing strings told him when to duck. Its several integrated themes told adventurer Jones when to kiss the heroine or smash the enemy. All things considered, Jones listened ... and lived."[50] Williams's soaring score for Spielberg's E.T. the Extra-Terrestrial (1982) won him a fourth Oscar.[44] Spielberg liked Williams's music for the climactic chase so much that he edited the film to match the music.[51]
The Spielberg-Williams collaboration resumed in 1987 with Empire of the Sun. In his Oscar-nominated score for Lawrence Kasdan's The Accidental Tourist (1988),[52] Williams developed the two main theme sections in different ways, turning the mood lighter or darker through orchestration and an unexpected use of synthesizers.[53] Schindler's List (1993) proved to be a challenge for Williams; after viewing the rough cut with Spielberg, he was so overcome with emotion that he was hesitant to score the film. He told Spielberg, "I really think you need a better composer than I am for this film." Spielberg replied, "I know, but they're all dead."[54] Williams asked classical violinist Itzhak Perlman to play the main theme for the film. Williams garnered his fourth Oscar for Best Original Score, his fifth overall.
Williams scored Spielberg's A.I. Artificial Intelligence, based on an unfinished project Stanley Kubrick asked Spielberg to direct. A. O. Scott argued that the movie represented new directions for director and composer, writing that Spielberg created "a mood as layered, dissonant and strange as John Williams's unusually restrained, modernist score".[55] Williams wrote a jazzy score for Spielberg's Catch Me If You Can (2002), which allowed him to tip his hat to Henry Mancini.[56] His score for Spielberg's War of the Worlds allowed him to tip his hat to the scores for classic monster movies.
In 2011, after a three-year hiatus from film scoring, Williams composed the scores for Spielberg's
In 2019, Williams served as music consultant for Spielberg's West Side Story (2021).[70][71] Williams scored Spielberg's semiautobiographical The Fabelmans (2022).[72] In June 2022, Williams announced that Indiana Jones and the Dial of Destiny, scheduled for a 2023 release, would likely be his last film score as he plans to retire from film and focus on composing concert music.[73][2] However, he reversed this decision by January 2023, stating that he had at least "10 more years to go. I'll stick around for a while!". He compared the decision to Spielberg's father Arnold, who had worked in his field until he was 100.[13]
Star Wars and other franchises
Spielberg recommended Williams to his friend George Lucas, who needed a composer for his space opera Star Wars (1977). Williams delivered a grand symphonic score influenced by Gustav Holst's orchestral suite The Planets, as well as Richard Strauss, Antonín Dvořák, and Golden Age Hollywood composers Max Steiner and Erich Wolfgang Korngold. The Star Wars theme is among the most widely recognized in film history, and the "Force Theme" and "Princess Leia's Theme" are well-known examples of leitmotif. The score was immensely successful—it remains the highest grossing non-popular music recording of all time—and won Williams a second Academy Award for Best Original Score.[74] In 1980, Williams returned to score The Empire Strikes Back, introducing "The Imperial March" as the theme for Darth Vader and the Galactic Empire, "Yoda's Theme", and "Han Solo and the Princess". The original Star Wars trilogy concluded with Return of the Jedi, for which Williams provided the "Emperor's Theme", "Parade of the Ewoks", and "Luke and Leia". Both scores earned him Academy Award nominations.[44]
In 1985, NBC commissioned Williams to compose a
In 1999, Lucas launched the first of three prequels to the original Star Wars trilogy. Williams was asked to score all three, starting with
Williams scored the first three film adaptations of J. K. Rowling's Harry Potter series. The most important theme from Williams's scores for the Harry Potter films, "Hedwig's Theme", was also used in the fourth through eighth films. Like the main themes from Jaws, Star Wars, Superman, and Indiana Jones, fans have come to identify the Harry Potter films with Williams's themes. Williams was asked to return to score the film franchise's final installment, Harry Potter and the Deathly Hallows – Part 2, but director David Yates said that "their schedules simply did not align", as he would have had to provide Williams with a rough cut of the film sooner than was possible.[80]
In 2013, Williams expressed interest in working on the
In March 2018, Williams announced that following Star Wars: The Rise of Skywalker (2019), he would retire from composing music for the Star Wars franchise: "We know J. J. Abrams is preparing one Star Wars movie now that I will hopefully do next year for him. I look forward to it. It will round out a series of nine, that will be quite enough for me."[92] Williams makes a cameo in the film as Oma Tres, a Kijimi bartender.[93] In July 2018, Williams composed the main musical theme for Disneyland and Disney's Hollywood Studios theme park attraction Star Wars: Galaxy's Edge. William Ross, who conducted the symphonic recording of the theme with the London Symphony Orchestra on Williams's behalf, additionally arranged Williams's original composition in different musical contexts for use, recording nearly an hour of musical material at Abbey Road Studios in November 2018.[94][95] Williams won the Grammy Award for Best Instrumental Composition for his Star Wars: Galaxy's Edge Symphonic Suite. He also composed the theme music for the Star Wars miniseries Obi-Wan Kenobi.[96]
Classical works and conducting
Boston Pops Orchestra
From 1980 to 1993, Williams served as the
Compositions
Williams has written many concert pieces, including a symphony; a concerto for horn written for Dale Clevenger, the Chicago Symphony Orchestra's principal horn; a concerto for clarinet written for Michele Zukovsky, the Los Angeles Philharmonic's principal clarinetist, in 1991;[102] a sinfonietta for wind ensemble; a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra; and a trumpet concerto, which was premiered by The Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996.[103] His bassoon concerto, The Five Sacred Trees, which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra.
Williams composed the Liberty Fanfare for the Statue of Liberty's rededication; "We're Lookin' Good!" for the Special Olympics in celebration of the 1987 International Summer Games; and themes for the 1984, 1988, 1996, and 2002 Olympic Games. One of his concert works, Seven for Luck, for soprano and orchestra, is a seven-piece song cycle based on the texts of former U.S. poet laureate Rita Dove. It had its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.[103]
Williams makes annual appearances with the
Conductor
In February 2004, April 2006, and September 2007, Williams conducted the
After over a ten year break, Williams returned to New York in 2022 to conduct the Philadelphia Orchestra for a benefit concert at Carnegie Hall, with special guest violinist Anne-Sophie Mutter.[112] The next year, he was feted at a gala at David Geffen Hall by Spielberg, celebrating their nearly fifty-year collaboration.[113] In 2024, he is set to return to headline another gala at Carnegie Hall with the Philadelphia Orchestra, this time with Yo-Yo Ma as his special guest.[114]
Williams also conducted the National Symphony Orchestra, the U.S. Army Herald Trumpets, the Joint Armed Forces Chorus, and the Choral Arts Society of Washington in his new arrangement of "The Star-Spangled Banner" for the anthem's 200th anniversary. The performance was held at A Capitol Fourth, an Independence Day celebration concert in Washington, D.C., on July 4, 2014.[115] On April 13, 2017, at Star Wars Celebration Orlando, Williams performed a surprise concert[116] with the Orlando Philharmonic Orchestra featuring "Princess Leia's Theme" (a tribute to the recently deceased Carrie Fisher), "The Imperial March", and "Main Title", followed by George Lucas saying, "The secret sauce of Star Wars, the greatest composer-conductor in the universe, John Williams".
Anne-Sophie Mutter, introduced to Williams by their mutual friend André Previn, collaborated with Williams on an album, Across the Stars, on which Mutter played themes and pieces from Williams's film scores in his new arrangements for violin. It was released in August 2019.[117] The Vienna Philharmonic Orchestra invited Williams to lead concerts in January 2020, his first engagement with a European orchestra,[118] for an all-Williams concert featuring Mutter as soloist. The concert included many pieces from Across the Stars. The resulting concert album, John Williams in Vienna, became the bestselling orchestral album of 2020, reaching the top 10 in many countries and topping the U.S. and UK classical charts.[119] The orchestra also commissioned a new procedural from Williams for their annual Philharmonikerball,[120] replacing the 1924 fanfare by Richard Strauss.
Williams conducted the Berlin Philharmonic from October 14–16, 2021, marking his second engagement with a European orchestra and his first with the Berlin Philharmonic.[121] In 2022, in celebration of his 90th birthday, Williams conducted the Vienna Philharmonic in March, and was honored on August 20 with a tribute at Tanglewood.[122] The tribute at Tanglewood featured James Taylor, Yo-Yo Ma, and Branford Marsalis. The Boston Symphony Orchestra performed some of Williams' best-known music, with Williams conducting the "Raiders March" from the Indiana Jones movies at the end of the show.[123] Williams made a surprise appearance at the U.S. premiere of the Indiana Jones and the Dial of Destiny (2023) on June 15, where he conducted themes with a live symphony orchestra. Also present were Spielberg, Lucas, Harrison Ford, and James Mangold.[124]
Personal life
In 1956, Williams married Barbara Ruick, an American actress and singer, and remained married until her death in 1974. They had three children: Jennifer (Jenny) Williams Gruska (b. 1956), Mark Towner Williams (b. 1958), and Joseph Williams (b. 1960); the last is best known as the lead singer of Toto.[125] In 1980, Williams married Samantha Winslow, a photographer.[126]
Awards, recognition and legacy
Williams was the subject of an hour-long documentary for the
Williams has been nominated for 54
Williams has worked with such diverse directors as
He has received several academic honors. In 1980, Williams received an Honorary Doctorate of Music from Berklee College of Music.[134] Williams received an Honorary Doctor of Music degree from Boston College in 1993,[135] from Harvard University in 2017,[136] and from the University of Pennsylvania in 2021.[137] Williams was made an honorary brother of Kappa Kappa Psi at Boston University in 1993, upon his impending retirement from the Boston Pops.[138] Since 1988, Williams has been honored with 15 Sammy Film Music Awards, the longest-running awards for film music recordings.[139] In 2000, Williams received the Golden Plate Award of the American Academy of Achievement.[140]
Williams has been inducted into the American Classical Music Hall of Fame and the
In 2003, the
Charting hit singles (U.S., Billboard)
Year | Title | Billboard | Billboard |
---|---|---|---|
1975 | Main Title (Theme from "Jaws") | 32[158] | 22[159] |
1977 | Star Wars (Main Title) | 10[160] | 4[159] |
1978 | Theme from "Close Encounters of the Third Kind" | 13[158] | 13[159] |
Concert works
Concertos
- 1969: Concerto for Flute and Orchestra
- 1974: Violin Concerto No. 1
- 1985: Concerto for Tuba and Orchestra
- 1991: Concerto for Clarinet and Orchestra
- 1993: Concerto for Bassoon and Orchestra, The Five Sacred Trees
- 1994: Concerto for Cello and Orchestra
- 1996: Concerto for Trumpet and Orchestra
- 1997: Elegy for Cello and Orchestra
- 2000: TreeSong for Violin and Orchestra
- 2002: Heartwood: Lyric Sketches for Cello and Orchestra
- 2002: Escapades for Alto Saxophone and Orchestra (adapted from the Catch Me If You Can film score)
- 2003: Concerto for Horn and Orchestra
- 2009: Concerto for Viola and Orchestra
- 2009: On Willows and Birches, for Harp and Orchestra
- 2011: Concerto for Oboe and Orchestra
- 2014: Scherzo for Piano and Orchestra
- 2017: Markings for Violin, Strings and Harp
- 2018: Highwood's Ghost, An Encounter for Cello, Harp and Orchestra
- 2021: Violin Concerto No. 2
Other orchestral works
- 1965: Prelude and Fugue (recorded on Stan Kenton Conducts the Los Angeles Neophonic Orchestra (Capitol, 1965))
- 1965: Symphony no. 1
- 1965: Essay for Strings
- 1968: Sinfonietta for Wind Ensemble
- 1975: Thomas and the King – Musical
- 1980: Jubilee 350 Fanfare
- 1984: Olympic Fanfare & Theme
- 1986: Liberty Fanfare
- 1987: A Hymn to New England
- 1988: Fanfare for Michael Dukakis
- 1988: For New York
- 1990: Celebrate Discovery
- 1993: Sound the Bells!
- 1994: Song for World Peace
- 1995: Variations on Happy Birthday
- 1999: American Journey
- 2003: Soundings
- 2007: Star Spangled Banner
- 2008: A Timeless Call
- 2012: Fanfare for Fenway
- 2012: Seven for Luck for soprano and orchestra
- 2013: For 'The President's Own'
- 2014: Star Spangled Banner
Chamber works
- 1951: Sonata for Piano
- 1997: Elegy for Cello and Piano
- 2001: Three Pieces for Solo Cello
- 2007: Duo Concertante for Violin and Viola
- 2009: Air and Simple Gifts for violin, cello, clarinet and piano
- 2011: Quartet La Jolla for violin, cello, clarinet and harp
- 2012: Rounds for solo guitar
- 2013: Conversations for solo Piano
- 2014: Music for Brass for Brass Ensemble and Percussion
Discography
See also
- List of compositions by John Williams
- Music of Star Wars
- Music of Superman
- Music of Harry Potter
Notes
- ^ was the first to be awarded outside of the acting and directing fields
References
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- ^ from the original on June 22, 2022. Retrieved June 22, 2022. This article explicitly confirms that Williams was born on February 8, 1932; "Williams, who turned 90 on Tuesday".
- ^ (April 23, 2022). From Jaws to Star Wars, Edmonton Symphony Orchestra celebrates John Williams Archived November 15, 2022, at the Wayback Machine, CTV News
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{{cite web}}
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- ^ Richards, Mark (November 30, 2015). "Celebrating Star Wars Themes Part 4". Film Music Notes. Archived from the original on January 5, 2016. Retrieved December 31, 2015.
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Further reading
- Aschieri, Roberto (1999). Over the Moon: La Música de John Williams Para El Cine (in Spanish). Santigo, Chile: Función Privada, sponsored by Universidad Diego Portales. p. 400. ISBN 978-4-89799-246-4.
- Audissino, Emilio (2021): John Williams's Film Music: Reviving Hollywood's Classical Style. (Madison, WI: University of Wisconsin Press), 376 pp. ISBN 978-0-299-33234-1.
- Audissino, Emilio ed. (2018): John Williams: Music for Films, Television and the Concert Stage. (Lucca, Italy: Bepols), 440 pp. ISBN 978-2-503-58034-0.
- Moormann, Peter (2010). Spielberg-Variationen: die Filmmusik von John Williams (in German). Baden-Baden: Nomos, Edition Reinhard Fischer. p. 797. ISBN 978-3-8329-5355-3.
- Palmer, Christopher (2020) [2013]. "Williams, John". In Marks, Martin (ed.). ISBN 978-1-56159-263-0. (subscription or UK public library membershiprequired)
- Paulus, Irena: "Williams versus Wagner – Or an Attempt at Linking Musical Epics". In: Stoppe, Sebastian (2014). Film in Concert: Film Scores and their Relation to Classical Concert Music. Glücksstadt, Germany: VWH Verlag. pp. 63–108. ISBN 978-3-86488-060-5..
- Stoppe, Sebastian: "John Williams's Film Music in the Concert Halls". In: Audissino, Emilio (2018). John Williams, Music for Film, Television and the Concert Stage. Turnhout: Brepols. pp. 95–116. ISBN 978-2-503-58034-0.
- Valverde, Andrés (2013). John Williams: Vida y Obra (in Spanish). Berenice Press. ISBN 978-8-4154-4142-7.
External links
- John Williams discography at Discogs
- John Williams at Curlie
- John Williams at IMDb