The Music of John Williams 03•02•2025
Program
“Without John Williams, bikes don’t fly, nor do brooms in Quidditch matches, nor do men in red capes. There is no Force. Dinosaurs do not walk the earth. We do not wonder, we do not weep, we do not believe.” – Steven Spielberg
This afternoon’s concert is a celebration of the musical genius of John Williams (b. 1932), a composer and conductor whose work has defined and enriched the world of film and concert music for over six decades. From whimsical to dramatic, patriotic to triumphant, Williams’ music is renowned for its ability to enhance the narrative of a film or event, bringing characters and scenes to life through his masterful use of orchestration and thematic development. With five Academy Awards and countless other accolades, John Williams has not only shaped the sound of modern cinema but also inspired generations of composers and musicians. His ability to transcend genres and create music that resonates with audiences of all ages ensures that his legacy will endure for years to come.
This concert also highlights the contributions of James Curnow, Paul Lavender, and Robert W. Smith, who provided the concert band transcriptions and arrangements of Williams’ original orchestral scores. Transcribing is the creation of an accurate, note-for-note representation of a piece originally composed for a different ensemble, ensuring every detail of the original composition is preserved. In contrast, arranging allows for more creativity, adapting the piece to fit the new ensemble’s strengths, often introducing new elements or modifications. The work of Curnow, Lavender, and Smith ensures that Williams’ orchestral masterpieces maintain the integrity and excitement of the original scores while utilizing the unique timbres and strengths of the concert band.
Liberty Fanfare, by John Williams (arr. Jim Curnow)
The Commission: The Ellis Island Foundation commissioned John Williams to write a fanfare to be performed at the televised ceremonies for the festivities accompanying the centennial of the Statue of Liberty, on July 4, 1986. This fanfare captures the spirit of American freedom and celebration, showcasing Williams’ extraordinary ability to evoke deep emotions through his music.
The Music: Liberty Fanfare’s main theme is both inspiring and emotive, reflecting the pride and hope symbolized by the Statue of Liberty. This fanfare captures the spirit of American freedom and celebration, reflecting Williams’ ability to evoke deep emotions through his music. After the premier, classical music critic Anthony Tommasini wrote, “… as fanfares go, [it] is a humdinger. It’s got two great tunes: a brassy and boisterous fanfare riff, all roulades and flourishes and forward motion; and a long-lined tune for hushed-up strings that sounds like lots of others Williams has composed for Hollywood, but still gets you right in the back of the throat.”
“I tried to create a group of American airs and tunes of my own invention that I hope will give some sense of the event and the occasion.” – John Williams
Jurassic Park Soundtrack Highlights, by John Williams (trans. Paul Lavender)
The Movie: Released in 1993, Steven Spielberg’s Jurassic Park brought dinosaurs to life with unprecedented realism and marvelous storytelling. The film’s narrative centers around the chaos that ensues when a theme park populated by cloned dinosaurs experiences a catastrophic system failure, leading to thrilling and suspenseful encounters. Jurassic Park remains a landmark in cinema for its special effects and captivating story.
The Music: John Williams’ score for Jurassic Park captures the wonder and terror of prehistoric creatures. Williams sought to create a musical landscape that would evoke both the grandeur and the danger of the film’s central concept. The main theme delivered by the brass section, particularly French horns, with its soaring melodies and majestic harmonies, reflects the awe and fascination of encountering living dinosaurs, while other parts of the score heighten the sense of peril and excitement. The scene where the two main characters first see a Brachiosaurus is one of the most awe-inspiring moments in the film, perfectly underscored by Williams’ majestic theme. Spielberg and Williams have worked together for 50 years. Spielberg showed his admiration for Williams when he said, “John rewrites my films, musically. If I have six drafts of a movie by a writer, John is my seventh and final draft. And that is the draft I go out with.”
“It was a rugged, noisy effort—a massive job of symphonic cartooning.... I tried to match the rhythmic gyrations of the dinosaurs, and ended up creating these kind of funny ballets.” – John Williams
Catch Me If You Can, by John Williams (arr. Jay Bocook)
The Movie: Directed by Steven Spielberg, Catch Me If You Can is a film based on the life of Frank Abagnale Jr., a notorious con artist active between 1964 and 1969. Before the age of 21, he successfully carried out frauds worth millions of dollars by posing as a Pan American World Airways pilot, a Georgia doctor, and a Louisiana parish prosecutor. The film stars Leonardo DiCaprio as Frank Abagnale Jr. and Tom Hanks as FBI agent Carl Hanratty. Catch Me If You Can is a stylish, fast-paced, and emotionally engaging film that blends humor, drama, and crime with Spielberg’s signature storytelling flair.
The Music: John Williams’ score for Catch Me If You Can is a departure from his usual grand orchestral style, embracing a jazz-inspired sound that complements the film’s 1960s setting. Williams crafted a score that is both playful and sophisticated, using a combination of jazz ensembles, solo instruments, and inventive rhythms to reflect the cunning and charm of the main character. The music enhances the cat-and-mouse dynamic between Frank and Carl, adding layers of nuance and excitement to their encounters. Williams has spoken about his enjoyment in exploring a different musical genre, noting how the jazz elements allowed him to experiment with new sounds and textures that were well-suited to the film’s period and tone.
“Catch Me If You Can is one of my most unique scores, with a jazzy style that was a lot of fun to work on.” – John Williams
Tim Kraft, alto saxophone soloist
Harry Potter Symphonic Suite, by John Williams (arr. Robert W. Smith)
The Movie: Released in 2001, Harry Potter and the Sorcerer’s Stone is the first film in the beloved Harry Potter series, based on J. K. Rowling’s best-selling novels. The story follows young Harry Potter as he discovers his magical heritage and begins his education at Hogwarts School of Witchcraft and Wizardry. The film introduces audiences to a world of enchantment, adventure, and friendship, setting the stage for the rest of the series.
The Music: John Williams’ score for Harry Potter and the Sorcerer’s Stone is instantly recognizable, with its enchanting melodies and magical themes. The main theme, “Hedwig’s Theme,” has become iconic, evoking the magical atmosphere of Hogwarts and the adventures that lie within. “Hedwig’s Theme” is used throughout the entire Harry Potter franchise. The other themes in this suite, “Nimbus 2000,” “Hogwarts Forever,” “Leaving Hogwarts,” and “Harry’s Wondrous World,” are used in the first three films scored by Williams but also reprised and incorporated by subsequent composers for the remaining films in the series.
“I wanted to create a sense of wonder and magic that would transport the audience into the world of Harry Potter.” – John Williams, on creating “Hedwig’s Theme”
Intermission
Superman March, by John Williams (trans. Paul Lavender)
The Movie: Released in 1978, Superman is a classic superhero film directed by Richard Donner and starring Christopher Reeve as Superman. The film tells the story of Superman’s origins, his journey to Earth, and his battle against the villainous Lex Luthor. Superman was a critical and commercial success, laying the foundation for the superhero genre in cinema.
The Music: Superman March is the musical cornerstone of John Williams’ Superman score. It serves as the main theme and is often associated with the character of Superman, embodying his heroic and noble qualities and creating a musical identity for the character. Many consider the soaring melodies to be the most effective musical representation of the experience of flying. Williams’ use of bold brass fanfares creates a sense of grandeur and excitement, making the march instantly recognizable. Upon hearing the demo of the opening title, Donner reportedly ran onto the soundstage, exclaiming, “The music actually says Superman!” He believed that the three-note motif in the main theme was a musical exclamation of SU-PER-MAN! When asked if there was anything to that interpretation, Williams replied, “There’s everything to that.” Williams’ score for Superman won the Grammy for Best Instrumental Composition.
“One of the essential things about the film to me was the fact that it was fun and didn’t take itself too seriously. If one could strike a level of theater and sleight of hand, tongue in cheek, in the creation of the themes, it might be the right idea.” – John Williams
Home Alone, by John Williams (arr. Paul Lavender)
The Movie: Released in 1990, Home Alone is a family comedy directed by Chris Columbus and starring Macaulay Culkin as Kevin McCallister, a young boy who is accidentally left behind when his family goes on vacation. The film follows Kevin’s adventures as he defends his home from two bumbling burglars. Home Alone became a holiday classic and spawned several sequels.
The Music: John Williams’ score for Home Alone is filled with whimsical and heartwarming melodies that capture both the magic and chaos of the holiday season. The main theme captures the spirit of Christmas while reflecting the mischievous antics of young Kevin McCallister. The score expertly shifts between lighthearted and suspenseful tones, particularly in the cues for Kevin’s clever traps and the villains’ bumbling attempts to break into the house, enhancing the film’s humor and emotional moments, making it an integral part of the movie’s charm. Another theme, “Somewhere in My Memory,” was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media.
“I wanted to create a sense of warmth and nostalgia that would evoke the feeling of Christmas and family togetherness.” – John Williams, on “Somewhere in My Memory”
Adventures on Earth, by John Williams (trans. Paul Lavender)
The Movie: E.T. the Extra-Terrestrial (1982), directed by Steven Spielberg, is a film about a young boy named Elliott who befriends a stranded alien, E.T. The story follows their deep bond and the adventurous quest to return E.T. to his home planet. The film is celebrated for its emotional depth, captivating storyline, and the powerful connection it portrays between Elliott and E.T., making it a timeless classic that resonates with audiences of all ages.
The Music: Williams’ score for E.T. the Extra-Terrestrial won both the Academy Award and the Golden Globe Award for Best Original Score and the Grammy Award for Best Score Soundtrack for Visual Media. Adventures on Earth combines themes from the last part of the film, encompassing the thrill of the well-known bicycle chase, the poignancy of the tearful goodbye, and the wonder of the spaceship’s ascent into the night sky. The music builds to a triumphant and heartwarming conclusion, reflecting the emotional resolution of the story. Spielberg liked Williams’ music for the climactic chase so much that he allowed him to record the music for the final scenes without measuring it closely to the edited film, opting instead to re-edit the video to conform to Williams’ expressive conducting.
The premiere performance of Adventures On Earth for concert band was conducted by John Williams as part of the 205th anniversary concert of the United States Marine Band, July 12, 2003, at the John F. Kennedy Center for the Arts in Washington, D.C.
“The music for E.T. is meant to capture the innocence and wonder of childhood, the magic of discovery, and the enduring power of friendship. Adventures on Earth brings together these themes to celebrate the extraordinary journey of Elliott and E.T.” – John Williams
Midway March, by John Williams (trans. Paul Lavender)
The Movie: Midway (1976), directed by Jack Smight, is a war film that depicts the pivotal Battle of Midway during World War II. The film stars an ensemble cast including Charlton Heston, Henry Fonda, and James Coburn. It portrays the intense naval battles and the heroism of the American forces as they strive to turn the tide of the war in the Pacific. Midway was praised for its historical accuracy and thrilling action sequences.
The Music: Midway March is one of the standout pieces in the Midway film score, capturing the spirit of determination and heroism that defines the film. The march is characterized by its bold, triumphant melodies and rhythmic drive, reflecting the intensity and urgency of the battle scenes. Williams’ use of brass and percussion creates a sense of grandeur, perfectly complementing the film’s dramatic moments.
“I tried to capture the essence of the battle, the courage of the men, and the importance of the victory. The march is meant to be a tribute to their bravery and a celebration of their triumph.” – John Williams
Program notes by Sue Hinton
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