Best Price on Johnny English Strikes Again

American composer, usher, and pianist (born 1932)

John Williams
Williams at Avery Fisher Hall in 2007
Born	John Towner Williams (1932-02-08) Feb 8, 1932 (age 90) New York Urban center, U.S.
Education	Academy of California, Los Angeles Juilliard School
Occupation	Composer conductor pianist
Spouse(s)	Barbara Ruick ​ ​ (m. 1956; died )​ Samantha Winslow ​ ​ (yard. 1980)​
Children	three, including Joseph
Parent(s)	Johnny Williams (begetter)
Awards	Full listing
Musical career
Genres	Picture music Boob tube score Contemporary classical music
Instruments	Piano
Years active	1952–present
Associated acts	Steven Spielberg George Lucas Boston Pops
Musical artist
Signature

John Towner Williams (born Feb 8, 1932) is an American composer, conductor, and pianist. In a career that has spanned seven decades, he has equanimous some of the most popular, recognizable, and critically acclaimed motion-picture show scores in cinematic history. Williams has won 25 Grammy Awards, seven British Academy Motion-picture show Awards, 5 Academy Awards, and four Golden Earth Awards. With 52 University Award nominations, he is the second most-nominated individual, later on Walt Disney. His compositions are considered the paradigm of film music; Archetype FM considers Williams to exist 1 of the greatest composers of classical music in history.^{[i] [2] [iii]}

Williams has composed for many critically acclaimed and popular movies, including the Star Wars saga, Jaws, Close Encounters of the Third Kind, Superman, East.T. the Extra-Terrestrial, the first two Habitation Alone films, the Indiana Jones films, the first 2 Jurassic Park films, Schindler's List, and the showtime three Harry Potter films.^[4] Williams has also equanimous numerous classical concertos and other works for orchestral ensembles and solo instruments. He served as the Boston Pops' principal conductor from 1980 to 1993 and is its laureate conductor.^[5] He has been associated with director Steven Spielberg since 1974, composing music for all but v of his feature films, and George Lucas, with whom he has worked on both of his master franchises. Other works by Williams include theme music for the 1984 Summertime Olympic Games, NBC Sunday Nighttime Football game, "The Mission" theme used past NBC News and Seven News in Australia, the television serial Lost in Space and Land of the Giants, and the incidental music for the starting time season of Gilligan'due south Island.^[6] Williams announced his intention to retire from moving-picture show score composing afterwards the release of the 5th Indiana Jones pic in 2023, to focus more on composing independent orchestral and symphonic pieces.

In 2005, the American Moving-picture show Institute selected Williams'due south score to 1977'south Star Wars as the greatest picture score of all time. The Library of Congress also entered the Star Wars soundtrack into the National Recording Registry for being "culturally, historically, or aesthetically pregnant".^[vii] Williams was inducted into the Hollywood Bowl'south Hall of Fame in 2000, and received a Kennedy Centre Laurels in 2004. His AFI Life Achievement Award in 2016 was the first to be awarded exterior of the acting and directing fields. He has equanimous the score for nine of the top 25 highest-grossing films at the U.S. box office (adjusted for inflation).^[8] His work has influenced other composers of film, pop, and contemporary classical music;^[9] Norwegian composer Marcus Paus argues that Williams's "satisfying way of embodying noise and avant-garde techniques within a larger tonal framework" makes him "i of the smashing composers of any century".^[10]

Early on life and family [edit]

John Towner Williams was born on February eight, 1932, in Flushing, Queens, New York City, to Esther (née Towner) and Johnny Williams,^[11] a jazz drummer and percussionist who played with the Raymond Scott Quintet. He is the eldest of four children and has three younger siblings: Jerry, Joan, and Donald.^{[12] [13]} Williams said of his lineage: "My father was a Maine human—we were very shut. My mother was from Boston. My father's parents ran a department shop in Bangor, Maine, and my mother'southward begetter was a cabinetmaker."^[xiv]

In 1948, the Williams family unit moved to Los Angeles where John attended North Hollywood High School, graduating in 1950. He later attended the University of California, Los Angeles, and studied composition privately with the Italian composer Mario Castelnuovo-Tedesco.^[15] Williams as well attended Los Angeles Metropolis Higher for ane semester, equally the school had a Studio Jazz Ring.^[16]

In 1951, Williams joined the U.S. Air Force, where he played the piano and brass and conducted and bundled music for the U.S. Air Force Band as role of his assignments.^{[17] [eighteen]} In a 2016 interview with the U.S. Air Force Band, he recounted having attended basic Air Force preparation at Lackland Air Force Base of operations, subsequently which he served as a pianist and brass histrion, with secondary duties of making arrangements for three years. He also attended music courses at the Academy of Arizona equally role of his service.^{[19] [20]}

In 1955, following his Air Force service, Williams moved to New York City and entered the Juilliard School, where he studied piano with Rosina Lhévinne.^[xv] He was originally assault becoming a concert pianist but after hearing gimmicky pianists like John Browning and Van Cliburn perform, switched his focus to limerick.^[21] During this time Williams worked as a jazz pianist in the city'due south many jazz clubs.

Early on career [edit]

Later his studies at Juilliard and the Eastman School of Music, Williams returned to Los Angeles, where he began working as an orchestrator at film studios. Among other composers, Williams worked with Franz Waxman, Bernard Herrmann, and Alfred Newman, and likewise with his fellow orchestrators Conrad Salinger and Bob Franklyn.^[22]

Williams was also a studio pianist and session musician, performing on picture scores by composers such as Jerry Goldsmith, Elmer Bernstein, Leonard Bernstein, and Henry Mancini. With Mancini he recorded the scores of 1959'south Peter Gunn, 1962's Days of Vino and Roses, and 1963'due south Charade. With Elmer Bernstein, he performed on the score of Hecht-Loma-Lancaster Productions' Sweet Smell of Success. Williams plays the piano part of the guitar-piano ostinato in the famous Mancini Peter Gunn championship theme.^{[23] [24]} On the Peter Gunn soundtrack, he collaborated with guitarist Bob Bain, bassist Rolly Bundock, and drummer Jack Sperling, many of whom were also featured on the Mr. Lucky tv set serial. Williams was the pianist for the soundtrack for the accommodation of Leonard Bernstein's musical, the 1961 West Side Story,^[25] and the 1960 picture show, The Apartment.

Williams during this fourth dimension period was known as Johnny Williams, and nether this name, released several jazz albums, including Earth on a String and The John Towner Touch.^[25]

Williams also served as music arranger and bandleader for a series of popular music albums with the singers Ray Vasquez and Frankie Laine.^{[26] [27]}

Film and television scoring [edit]

Williams at the Boston Symphony Hall later conducting the Boston Pops, May 2006

Although skilled in a multifariousness of 20th-century compositional idioms, Williams's most familiar way may be described as a course of neoromanticism,^[28] which was inspired by the late 19th century's large-calibration orchestral music—in the style of Pyotr Ilyich Tchaikovsky or Richard Wagner and their concept of leitmotif—that inspired his film music predecessors.^[29]

Williams'due south showtime picture show composition was for You lot Are Welcome—a promotional moving-picture show for the tourist information part of Newfoundland, created in 1954 when Williams was stationed at Pepperrell Air Force Base.^[xviii] Williams'south first feature film composition was in 1958 for the B moving picture Daddy-O, and his first screen credit came ii years later on in Because They're Young.

Williams also composed music for diverse television programs in the same fourth dimension period including the pilot episode of Gilligan'southward Island,^[xxx] Bachelor Begetter (1959–60), the Kraft Suspense Theatre, Lost in Space (1965–68), The Time Tunnel (1966–67), and Land of the Giants (the last three created by the prolific TV producer Irwin Allen).^[31] He also worked on several episodes of Grand Squad.^{[32] [33]}

He soon gained notice in Hollywood for his versatility in composing jazz, piano, and symphonic music. Williams received his first Academy Award nomination for his score for 1967'south Valley of the Dolls, and was nominated again for his score for 1969's Adieu, Mr. Chips. He won his first Academy Accolade for his score adaptation for the 1971 film Fiddler on the Roof. In 1972, he equanimous the score for the Robert Altman-directed psychological thriller Images (recorded in collaboration with noted percussionist Stomu Yamashta), which earned him another nomination in the category Best Music, Original Dramatic Score at the 1973 Academy Awards.^[34]

Williams's prominence grew in the early 1970s thanks to his work for now-film producer Irwin Allen's disaster films. He wrote the scores for 1972'south The Poseidon Adventure and 1974's The Towering Inferno. He also scored Universal'southward 1974 pic Earthquake for director Mark Robson, completing a "trinity" of scores for the decade's highest-grossing "disaster films", and the 1972 film The Cowboys, a western starring John Wayne and directed by Mark Rydell.^[35]

In 1974, director Steven Spielberg approached Williams to compose the music for his feature directorial debut, The Sugarland Express. They teamed upwardly once again a year afterward for Spielberg'due south 2nd film, Jaws. Widely considered a classic suspense motion-picture show, its score's ominous, 2-annotation ostinato has go synonymous with sharks and approaching danger. The score earned Williams his second Academy Award, his first for an original limerick.^[34]

Shortly thereafter, Spielberg and Williams began a long collaboration on their adjacent feature film, Shut Encounters of the 3rd Kind. During the two-year collaboration, they crafted its distinctive five-note figure that functions both in the background music and every bit the communications point of the film's extraterrestrials. Williams also used a arrangement of musical hand signals in the moving-picture show that were based on paw signs created past John Curwen and refined by Zoltán Kodály.^[36] In 1975 Clint Eastwood chose Williams to score his classic climbing film The Eiger Sanction.

During the same period, Spielberg recommended Williams to his friend and beau manager George Lucas, who needed a composer to score his ambitious 1977 infinite epic film Star Wars. Williams eventually delivered a grand symphonic score in the fashion of 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 near widely recognized in film history, and the "Force Theme" and "Princess Leia's Theme" are well-known examples of leitmotif. Both the picture show and its score were immensely successful—it remains the highest grossing not-popular music recording of all time—and Williams won some other University Award for Best Original Score.^[37]

In 1980, Williams returned to score The Empire Strikes Dorsum, introducing "The Majestic March" as the theme for Darth Vader and the Galactic Empire, "Yoda'southward Theme", and "Han Solo and the Princess". The original Star Wars trilogy concluded with the 1983 motion-picture show Return of the Jedi, for which Williams's score provided about notably the "Emperor'due south Theme", "Parade of the Ewoks", and "Luke and Leia". Both scores earned him Academy Award nominations.^[34]

John Williams conducting the score to Raiders of the Lost Ark in the Avery Fisher Hall

Williams scored the 1976 Alfred Hitchcock film Family Plot. Williams did not much like the picture, simply did not want to turn down the adventure to work for Hitchcock. Hitchcock only told him to remember ane thing, "Murder can be fun." Hitchcock was very satisfied with the issue.

Williams worked with director Richard Donner to score the 1978 film Superman. The score'southward heroic and romantic themes, peculiarly the main march, the Superman fanfare and the honey theme, known as "Tin can You lot Read My Mind", appeared in the four sequel films. For the 1981 film Raiders of the Lost Ark, created past Lucas and directed by Spielberg, Williams wrote a rousing main theme known equally "The Raiders March" to accompany the film's hero, Indiana Jones. He equanimous separate themes to represent the Ark of the Covenant, the grapheme Marion, and the story'due south Nazi villains. Additional themes were featured in his scores to the subsequent Indiana Jones and the Temple of Doom, a prequel (1984), Indiana Jones and the Concluding Cause (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008). Williams composed an emotional and sensitive score to Spielberg's 1982 fantasy film Due east.T. the Extra-Terrestrial, for which he was awarded a quaternary Academy Award.^[34]

In 1985, Williams was deputed by NBC to compose a television news music package for various network news spots. The bundle, which Williams named "The Mission", consists of four movements, ii of which are nevertheless used heavily by NBC today for Today, NBC Nightly News, and Run across the Printing.^[38]

The Spielberg–Williams collaboration resumed with the 1987 film Empire of the Sun, and still continues, spanning genres from science fiction thrillers (1993's Jurassic Park) to somber tragedies 2005's Munich to Eastern-tinged melodramas (2005'southward Memoirs of a Geisha, directed by Rob Marshall) to dramatic war films (1998's Saving Private Ryan). Spielberg has said, "I phone call it an honorable privilege to regard John Williams as a friend."^[39]

In his Academy Honour-nominated score for The Accidental Tourist (1988),^[40] Williams developed the two main theme sections in different ways, turning the mood lighter or darker through orchestration and an unexpected use of synthesizers.^[41]

1993's Schindler'due south List proved to be a challenge for Williams, and later on viewing the crude cutting with Spielberg, was originally hesitant to score the film, existence and so overcome with emotion watching the cut. He told Spielberg, "I actually call up you need a improve composer than I am for this film." Spielberg then replied, "I know, but they're all dead."^[42] Williams enlisted the assistance of classical violinist Itzhak Perlman to play the main theme for the film. Williams then garnered his 5th Oscar for Best Original Score.

In 1999, Lucas launched the offset of 3 prequels to the original Star Wars trilogy. Williams was asked to score all three, starting with The Phantom Menace. Along with themes from the previous films, Williams created new themes to be used as leitmotifs in 2002's Attack of the Clones and 2005's Revenge of the Sith. Almost notable of these was "Duel of the Fates", an aggressive choral movement in the style of Verdi'south Requiem,^[43] utilizing harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. It used song melodies instead of his usual compositions using contumely instruments. Also of note was "Anakin's Theme", which begins every bit an innocent childlike melody and morphs insidiously into a quote of the sinister "Majestic March". For Episode II Williams equanimous "Beyond the Stars", a dear theme for Padmé Amidala and Anakin Skywalker (mirroring the beloved theme composed for The Empire Strikes Back).^{[44] [45]} The final installment combined many of the themes created for the serial' previous films, including "The Emperor's Theme", "The Imperial March", "Across the Stars", "Duel of the Fates", "The Strength Theme", "Rebel Fanfare", "Luke'due south Theme", and "Princess Leia's Theme", besides as new themes for General Grievous and the moving picture'south climax, titled "Battle of the Heroes".^[46]

In the new millennium Williams scored the showtime iii picture adaptations of J. K. Rowling's widely successful book series Harry Potter. As with his Superman theme, the almost important theme from Williams's scores for the Harry Potter films, "Hedwig'southward Theme", was used in the fourth through eighth films (Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows – Role one, and Harry Potter and the Deathly Hallows – Part ii), scored by Patrick Doyle (Goblet of Fire), Nicholas Hooper (Society of the Phoenix and Half-Claret Prince) and Alexandre Desplat (Deathly Hallows). Similar the main themes from Jaws, Star Wars, Superman, and Indiana Jones, fans have come to place the Harry Potter films with Williams'southward original compositions. Williams was asked to render to score the film franchise'due south final instalment, Harry Potter and the Deathly Hallows – Part two, but manager David Yates said that "their schedules simply did not align", as he would have had to provide Williams with a crude cut of the film sooner than was possible.^[47]

In 2002, for the 20th ceremony edition of E.T. The Actress-Terrestrial, Williams equanimous a reorchestrated score for the Universal Pictures logo segueing to music from the movie.

In 2006, Superman Returns was directed by Bryan Singer, all-time known for directing the commencement two films in the X-Men series. Singer did not request Williams to compose a score for the intentionally Donner-esque film, but he employed the skills of X2 composer John Ottman to comprise Williams's original Superman theme as well as those for Lois Lane, Krypton and Smallville. In 2011, the "Main Title Theme" and elements of "Can You Read My Mind" were used in the final scene of "Finale", the series finale of the WB/CW television serial Smallville.^[48] Don Davis, recommended by Williams to the producers, performed a similar role for Jurassic Park III.^[49]

In 2008, Williams returned to the Indiana Jones series to score the 4th film, Indiana Jones and the Kingdom of the Crystal Skull. He received a Grammy nomination for his work on the moving picture. Indiana Jones and the Kingdom of the Crystal Skull was also the only film score from the Indiana Jones picture show series not to be nominated for an Academy Award. As well in 2008 Williams composed music for 2 documentaries, Warner at War ^[fifty] and A Timeless Call,^[51] the latter directed by Spielberg.

In 2011, afterwards a three-year absenteeism from film scoring, Williams equanimous the scores for Spielberg's The Adventures of Tintin and War Horse. Both scores received overwhelmingly positive reviews^{[52] [53] [54] [55] [56] [57]} and earned Academy Award nominations,^[58] the latter also beingness nominated for a Golden Globe.^[59] The Oscar nominations were Williams'due south 46th and 47th, making him the almost nominated musician in Academy Award history (having previously been tied with Alfred Newman's 45 nominations), and the second about nominated overall, behind Walt Disney. Williams won an Annie Award for his score for The Adventures of Tintin. In 2012, he scored Spielberg's film Lincoln and afterwards received his 48th University Award nomination.^[threescore]

In February 2013, Williams expressed interest in working on the Star Wars sequel trilogy, saying: "Now we're hearing of a new set up of movies coming in 2015, 2016... so I need to make sure I'm still fix to go in a few years for what I hope would be connected work with George."^[61] He as well scored the 2013 moving picture The Volume Thief,^[62] his starting time collaboration with a director other than Spielberg since 2005. The score earned him an Academy Award, Gold Globe and BAFTA nominations and a Grammy Award for Best Instrumental Composition. It was his 44th nomination for Best Original Score (and 49th overall), setting a new record for the most nominations in that category (he tied Alfred Newman'southward record of 43 nominations in 2013).^{[34] [63]}

In 2015, Williams scored Star Wars: The Forcefulness Awakens, earning him his 50th Academy Accolade nomination.^{[64] [65]} He was likewise prepare to write the score for Bridge of Spies that year, which would have been his 27th collaboration with Spielberg,^[66] just in March 2015 it was announced that Thomas Newman would score it instead, equally Williams'due south schedule was interrupted by a pocket-sized wellness issue.^[67] This was the first Spielberg film since The Colour Royal (1985) not scored by Williams.^[68]

In 2016, Williams equanimous the score for Spielberg's The BFG, which opened in July 2016.

In 2017, Williams scored the blithe short movie Dear Basketball, directed by Glen Keane and based on a verse form by Kobe Bryant.^{[69] [seventy]} He also wrote the music for Star Wars: The Last Jedi,^[71] the eighth episode of the saga, and Steven Spielberg'due south drama picture The Post, both of which opened in December 2017.^[72]

Williams contributed "The Adventures of Han" and several additional demos for the 2018 standalone Star Wars pic Solo: A Star Wars Story, while John Powell wrote the flick'south original score and adapted Williams's music.^{[73] [74] [75] [76]}

A three-disc box ready compilation of all of Williams's musical scores for Spielberg'southward films, John Williams & Steven Spielberg: The Ultimate Collection, was released on March 17, 2017, and includes two previous score compilations from 1991 and 1995.^[77]

Williams'south trunk of work in film composing was featured in the 2017 documentary motion picture SCORE: A Picture show Music Documentary.^[78]

In March 2018, Williams announced that following Star Wars: The Rise of Skywalker, which was released in December 2019, he would retire from composing music for the Star Wars franchise: "We know J. J. Abrams is preparing 1 Star Wars moving picture now that I will hopefully do adjacent year for him. I look forward to it. Information technology volition round out a series of 9, that will be quite plenty for me."^[79] Williams makes a cameo in the motion-picture show as Oma Tres, a Kijimi bartender.^[80]

In July 2018, Williams composed the chief musical theme for Disneyland and Disney's Hollywood Studios theme park attraction Star Wars: Galaxy's Border. William Ross, who conducted the symphonic recording of the theme with the London Symphony Orchestra (LSO) on Williams's behalf, additionally bundled Williams'south original composition in different musical contexts for use, recording near an hour of musical material at Abbey Road Studios in Nov 2018.^{[81] [82]} Williams won the Grammy Honor for Best Instrumental Composition for his Star Wars: Galaxy'due south Edge Symphonic Suite.

In June 2019, The New York Times Magazine listed Williams as 1 of hundreds of artists whose material was destroyed in the 2008 Universal fire.^[83] That aforementioned yr, he served equally music consultant for Spielberg's 2021 film adaptation of W Side Story.^{[84] [85]}

Williams is attached to score Spielberg's next picture show The Fabelmans, scheduled to be released on November 23, 2022, and the fifth Indiana Jones film, scheduled for a 2023 release.^{[86] [87]} He will besides etch the theme music for the upcoming Star Wars miniseries Obi-Wan Kenobi.^[88]

Conducting, performing, and other classical works [edit]

Williams signing an autograph afterward a concert

From 1980 to 1993, Williams served every bit the Boston Pops Orchestra's Principal Usher, succeeding Arthur Fiedler. Williams never met Fiedler in person simply spoke to him past phone. His arrival as the Pops' new leader in the bound of 1980 immune him to devote part of the Pops' first PBS circulate of the season to presenting his new compositions for The Empire Strikes Back.^[89]

Williams almost ended his tenure with the Pops in 1984^[90] when some players hissed while sight-reading a new Williams limerick in rehearsal; Williams abruptly left the session and turned in his resignation. He initially cited mounting conflicts with his film composing schedule, but later on admitted a perceived lack of subject area in, and respect from, the Pops' ranks, culminating in this latest example. Subsequently entreaties by the management and personal apologies from the musicians, Williams withdrew his resignation and continued equally main conductor for nine more than years.^[91] In 1995, he was succeeded by Keith Lockhart, the sometime associate conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra.^[92]

Williams is now the Pops' Laureate Conductor, thus maintaining his affiliation with its parent, the Boston Symphony Orchestra (BSO). Williams leads the Pops on several occasions each year, particularly during their Vacation Pops flavour and typically for a week of concerts in May. He conducts an annual Moving-picture show Night at both Boston Symphony Hall and Tanglewood, where he frequently enlists the Tanglewood Festival Chorus, the BSO's official chorus.^[93]

Williams has written many concert pieces, including a symphony; a Concerto for Horn written for Dale Clevenger, the Chicago Symphony Orchestra'due south Chief Hornist; a Concerto for Clarinet written for Michele Zukovsky (the Los Angeles Philharmonic's Chief Clarinetist) in 1991;^[94] a sinfonietta for air current 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 past the London Symphony Orchestra; and a trumpet concerto, which was premiered past The Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996.^[95]

His bassoon concerto, "The Five Sacred Copse", 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 was the subject area of an hour-long documentary for the BBC in 1980, and was featured in a study on 20/20 in 1983.^[96]

Stanley Donen (left) and Williams at Avery Fisher Hall

He 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 7-piece song cycle based on the texts of sometime U.South. Poet Laureate Rita Dove. "Seven for Luck" was given its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.^[95]

Williams conducting at Hollywood Bowl

Williams makes annual appearances with the Los Angeles Philharmonic at the Hollywood Basin, and took function every bit conductor and composer in the orchestra'due south opening gala concerts for the Walt Disney Concert Hall in 2003. In 2004, he both served as the Thou Align for the Rose Parade, and directed "The Star Spangled Imprint" at the Rose Basin's commencement. In April 2005, Williams and the Boston Pops performed the "Throne Room Finale" from Star Wars at opening day in Fenway Park as the Boston Red Sox, having won their beginning World Series championship since 1918, received their championship rings. For Game 1 of the 2007 World Series, Williams conducted a brass-and-drum ensemble through a new dissonant organization of the "Star Spangled Banner".^[96]

In February 2004, Apr 2006, and September 2007, Williams conducted the New York Philharmonic at Avery Fisher Hall in New York City. The initial programme was intended to be a one-fourth dimension special outcome, and featured Williams'due south medley of Oscar-winning film scores starting time performed at the previous year'south Academy Awards.^[97] Its unprecedented popularity led to two concerts in 2006: fundraising gala events featuring personal recollections past film directors Martin Scorsese and Steven Spielberg.^{[98] [99]} Standing demand fueled three more concerts in 2007, which all sold out. These featured a tribute to the musicals of picture director Stanley Donen, and had the distinction of serving equally the New York Philharmonic season's opening event.^{[100] [101]} After a iii-season absence, Williams conducted the Philharmonic over again in October 2011.^[102]

Maestro Williams also conducted the National Symphony Orchestra, the U.South. Army Herald Trumpets, the Joint Armed Forces Chorus, and the Choral Arts Lodge of Washington performing his new arrangement of "The Star-Spangled Banner" for its 200th ceremony. The performance was held at A Capitol Fourth, an Independence Solar day celebration concert in Washington, D.C., on July 4, 2014.^[103]

On April 13, 2017, at Star Wars Commemoration Orlando, Williams performed a surprise concert^[104] with the Orlando Combo Orchestra featuring "Princess Leia's Theme" (a tribute to the recently deceased Carrie Fisher), "The Regal March" and "Main Championship" followed by George Lucas saying, "The hush-hush sauce of Star Wars, the greatest composer-usher in the universe, John Williams".

German classical violinist Anne-Sophie Complain and Williams, introduced to each other past their mutual friend André Previn, collaborated on an album, "Across the Stars", in which Mutter played themes and pieces from Williams's movies rearranged by him for the Violin. It was released in August 2019.^[105]

John Williams conducting the Boston Pops in May 2018

The Vienna Philharmonic Orchestra invited Williams to lead concerts in January 2020, his beginning appointment with a European orchestra,^[106] for an all-Williams concert featuring Mutter equally soloist. The concert included many pieces from the" Across the Stars" Album. The resulting Anthology from the concert, "John Williams in Vienna", became the best selling orchestral album in 2020, reaching the top 10 in many countries, forth with topping the Classical Charts in the UK, and the U.s..^[107] The Orchestra likewise commissioned a new procedural from Williams for their annual Philharmonikerball,^[108] which is to replace the hitherto used 1924 fanfare by Richard Strauss.

Williams conducted the Berlin Philharmonic from October fourteen to the 16th in 2021, marking his second date with a European Orchestra and his first with the Berlin Philharmonic.^[109]

Legacy [edit]

John Williams is regarded as one of the virtually influential picture show composers. His work has influenced other film composers, as well as contemporary classical and popular music. The Norwegian classical composer Marcus Paus argues that Williams'south "very satisfying fashion of embodying dissonance and avant-garde techniques within a larger tonal framework" makes him "1 of the great composers of any century".^{[9] [10]}

Similarly, Williams'southward moving-picture show music has clear influences from other classical and film composers, including Holst,^[110] Stravinsky, Korngold, and others. But while many have specifically referenced the similarities,^{[111] [112]} these are generally attributed to the natural influence of one composer on another.

Personal life [edit]

In 1956, Williams married Barbara Ruick, an American actress and singer. They had three children: Jennifer (b. 1956), Marker Towner Williams (b. 1958), and Joseph (b. 1960), the lead singer of Toto.^[113] The two remained married until her decease in 1974. In 1980, Williams married Samantha Winslow, a photographer.^[114]

Honors and legacy [edit]

John Williams has been nominated for 52 Academy Awards, winning five; six Emmy Awards, winning three; 25 Golden Earth Awards, winning four; 71 Grammy Awards, winning 25; and has received 7 British Academy Movie Awards. With 52 Oscar nominations, Williams currently holds the record for the most Oscar nominations for a living person,^{[115] [116]} and is the second most nominated person in Academy Awards history behind Walt Disney's 59. Forty-six of Williams's Oscar nominations are for Best Original Score and v are for Best Original Vocal. He won four Oscars for Best Original Score and 1 for Best Scoring: Adaptation and Original Song Score (Fiddler on the Roof).

He has received several academic honors. In 1980, Williams received an Honorary Doctorate of Music from Berklee College of Music.^[117] Williams received an Honorary Doc of Music degree from Boston College in 1993,^[118] from Harvard University in 2017,^[119] and from the Academy of Pennsylvania in 2021.^[120] Williams was made an honorary brother of Kappa Kappa Psi at Boston Academy in 1993, upon his impending retirement from the Boston Pops.^[121]

Since 1988, Williams has been honored with xv Sammy Moving picture Music Awards, the longest-running awards for picture music recordings.^[122]

In 2000, Williams received the Gold Plate Award of the American Academy of Accomplishment.^[123]

Williams has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl Hall of Fame. Williams was honored with the annual Richard Kirk award at the 1999 BMI Picture and TV Awards, recognizing his contribution to picture show and tv set music.^[124] In 2004, he received the Kennedy Center Honors.^[125] He won a Archetype Brit Award in 2005 for his soundtrack work of the previous year.

Williams has won the Grammy Accolade for Best Instrumental Composition for his scores for Star Wars, Close Encounters of the Third Kind, Superman, The Empire Strikes Back, E.T. the Extra-Terrestrial, Angela'southward Ashes, Munich, Indiana Jones and the Kingdom of the Crystal Skull, and The Book Thief. The competition includes non only composers of film scores, but also composers of instrumental music of any genre, including composers of classical fare such every bit symphonies and bedchamber music.

In 2003, the International Olympic Committee accorded Williams its highest individual award, the Olympic Order.^[126]

In 2009, Williams received the National Medal of Arts in the White House in Washington, D.C., for his achievements in symphonic music for films, and "as a pre-eminent composer and conductor [whose] scores have defined and inspired modern movie-going for decades".^[127]

In 2012, Williams received the Brit Award for Outstanding Contribution to Music.^[128]

In 2013, Williams was presented with the Ken Burns Lifetime Achievement Award.^[129]

In 2016, Williams was made a Chevalier De L'Ordre des Arts et des Lettres – Government of France^[130]

In 2018, the performing rights arrangement Broadcast Music, Inc. established The John Williams Award, of which Williams became the offset recipient.^[131] Also the same year, Williams received the Grammy Trustees Honour which is a Special Merit Award presented to individuals who, during their careers in music, have made significant contributions, other than performance (and some performers through 1983), to the field of recording.^[132]

In 2020, Williams won the Grammy Laurels for "Best Instrumental Composition" for composing Star Wars: Galaxy's Edge Symphonic Suite,^[133] and he received his 52nd Oscar nomination for "All-time Original Score" at the 92nd Academy Awards for Star Wars: The Rising of Skywalker. ^[134]

In 2020, Williams received the Aureate Medal of the Imperial Philharmonic Society^[135] as well as the Princess of Asturias Accolade for the Arts (jointly with Ennio Morricone).^[136]

Charting hits (U.S., Billboard) [edit]

Yr	Title	Billboard Hot 100	Billboard AC
1975	Primary Title (Theme from "Jaws")	32[137]	22[138]
1977	Star Wars (Master Title)	10[139]	4[138]
1978	Theme from "Close Encounters of the 3rd Kind"	13[137]	thirteen[138]

Concert works [edit]

Concertos [edit]

• 1969: Concerto for Flute and Orchestra
• 1976: Concerto for Violin and Orchestra
• 1985: Concerto for Tuba and Orchestra
• 1991: Concerto for Clarinet and Orchestra
• 1993: Concerto for Bassoon and Orchestra, The Five Sacred Copse
• 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 Take hold of 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: Second Violin Concerto

Other orchestral works [edit]

• 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 Air current 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: Gloat Discovery
• 1993: Sound the Bells!
• 1994: Song for World Peace
• 1995: Variations on Happy Altogether
• 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

Bedchamber works [edit]

• 1951: Sonata for Pianoforte
• 1997: Elegy for Cello and Piano
• 2001: 3 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 Contumely Ensemble and Percussion

Discography [edit]

See also [edit]

• List of compositions by John Williams
• Music of Harry Potter
• Music of Star Wars
• Music of Superman

References [edit]

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Further reading [edit]

• 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. ISBN978-iv-89799-246-four.
• Audissino, Emilio (2021): John Williams's Pic Music: Reviving Hollywood's Classical Style. (Madison, WI: University of Wisconsin Press), 376 pp. ISBN 978-0-299-33234-i.
• Audissino, Emilio ed. (2018): John Williams: Music for Films, Telly and the Concert Stage. (Lucca, Italy: Bepols), 440 pp. ISBN 978-2-503-58034-0.
• Moormann, Peter (2010). Spielberg-Variationen: dice Filmmusik von John Williams (in High german). Baden-Baden: Nomos, Edition Reinhard Fischer. p. 797. ISBN978-3-8329-5355-3.
• Paulus, Irena: "Williams versus Wagner – Or an Endeavour at Linking Musical Epics". In: Stoppe, Sebastian (2014). Motion picture in Concert: Film Scores and their Relation to Classical Concert Music. Glücksstadt, Deutschland: VWH Verlag. pp. 63–108. ISBN978-3-86488-060-five. .
• Stoppe, Sebastian: "John Williams'south Movie Music in the Concert Halls". In: Audissino, Emilio (2018). John Williams, Music for Flick, Television receiver and the Concert Stage. Turnhout: Brepols. pp. 95–116. doi:10.25969/mediarep/16800. ISBN978-2-503-58034-0.
• Valverde, Andrés (2013). John Williams: Vida y Obra (in Spanish). Berenice Press. ISBN 978-eight-4154-4142-vii.

External links [edit]

• John Williams discography at Discogs
• John Williams at Curlie
• John Williams at IMDb
• John Williams Fan Network
• John Williams music listings
• Unofficial website

Cultural offices
Preceded by Arthur Fiedler	Principal Usher, Boston Pops Orchestra 1980–1993	Succeeded by Keith Lockhart

johnsontinfied.blogspot.com

Source: https://en.wikipedia.org/wiki/John_Williams

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