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Attention!
These tributes to John Williams by Steven A. Kennedy and Steve Vertlieb
are not to be reproduced without permission.
For permission to reprint them -- click here
The Berlin Concert
Music composed by John Williams.
Disc One: 30 Tracks (Playing Time = 50:07)
Disc Two: 17 Tracks (Playing Time = 57:58)The Berling Philharmonic conducted by John Williams.
Recorded in concert - October 2021.
Engineered by Rene Moller, Jupp Wegner and Johannes Hartmuth.
Audio edited by Erik Brauer.
Mixed by Rene Moller.
Mastered by Rene Moller and Jupp Wegner.
Album produced by Christoph Franke. Notes by Tobias Moller.
Translations by Richard Evidon. Design by Buro Dirk Rudolph.Deutsche Grammophon B0034852-02
Rating: ****
There have been a number of new albums featuring the music of John Williams both from a new generation of conductors and the maestro himself. While film music and the Berlin Philharmonic are not entirely synonymous, John Williams took the podium in a concert there in October 2021—a truly special event. While the orchestra had performed concert music by Erich Wolfgang Korngold, and even been conducted by Andre Previn (who attended their concerts as a young child), this was the first time a film composer and conductor took the podium in a program of their own work. No doubt after his triumphant concert in Vienna, this was a logical next step. The BPO is one of the world’s great orchestras and are well-steeped in the idioms that inform much of Williams’ music. Even so, the music is not without its challenges and this program is filled with a great variety of his film music and a surprising inclusion of the Elegy for Cello and Orchestra. The trumpet section even switched out their horns for brighter American instruments which again make the orchestra sound a little different than those familiar with their classical programming. Throughout the program, one can pick up on the great attention to every detail in the music from accents and dynamics to exquisite phrasing and clean execution. The percussion section has a nice balance against the rest of the orchestra as well which helps those parts come out better.
Unlike Deutsche Grammophon’s release of the Vienna concert, this release is a memento recording that includes introductions by Williams spread throughout the album. This approach is something those who have attended his Film Nights in Boston and LA are familiar. While there is some duplication from other recent Williams concert programs on the label, there are plenty of new items here to enjoy as well, some with subtle surprises.
After an enthusiastic applause (separately indexed), things quiet down for the opening Olympic Fanfare and Theme. It is a finely-paced performance that captures the richness of the hall and orchestra with some fabulous horn playing throughout. Applause burst forth almost before the last chord, but fortunately DG has edited things to help minimize this. The excerpts from CLOSE ENCOUNTERS are quite stunning in this performance. Accents are punched well and the dynamic range is even more pronounced and nuanced than Williams’ VPO performance. The more avantgarde style of this music is brought out more as well which makes the big romantic theme moment all the more moving when it suddenly appears. This is also one of the most in-tune performances of this work whose upper string writing can skew sideways from time to time. Additional unique colors in the piece also seem to come out more making this one of the first highlights from the release.
The suite from FAR AND AWAY is an interesting choice but it gives the orchestra a challenge to create some Irish stylings which they do with great aplomb. What is also nice about this suite is that it gets to show off different aspects of the orchestra and requires some great rhythmic precision. Next up are the first concert performances recorded by Williams of selections from HARRY POTTER AND THE SORCERER’S STONE (“Hedwig’s Theme”)—notwithstanding the studio version for solo violin, “Nimbus 2000”—a fine woodwind feature, and “Harry’s Wondrous World”—with some quite interesting ritards and shaping of this piece). The first part of the program closes with the familiar JURASSIC PARK theme in a breezy reading, and the SUPERMAN march.
The second part of the program on disc two focuses on music from two of the big multi-picture franchises. Three selections from the adventures of Indiana Jones kick things off with the “Scherzo for Motorcycle” serving like a little overture. This version appears to have a different ending from previously-recorded versions. For contrast, we move to the beautiful “Marion’s Theme” and then of course “Raider’s March” (which also includes the central “Marion’s Theme” as well). In his introduction to the music, he announces he is off to LA after the concert to finish the score for the fifth film. To give the brass a break, Williams next moves to the one non-film piece on the program, the moving Elegy for Cello and Orchestra in a fine performance by Bruno Delepelaire. Then we are off to space.
Among the more familiar STAR WARSchoices (“Yoda’s Theme”, “Throne Room & Finale”—which was part of the Skywalker Symphony release; and two of the three encores: “Princess Leia’s Theme”—some stunning high string playing id exquisite here; and the “Imperial March”) is his first recording of “The Adventures of Han” from SOLO: A STAR WARS STORY which Williams premiered in Boston at the time of the film’s forthcoming release. These familiar pieces have their own nuances that make them engaging interpretations that stand along others on disc. The penultimate encore is one Williams likes to use a lot in concert -- the “Flying Theme” from E.T.: THE EXTRATERRESTRIAL.
Fans will add this as a must to their collection, but this is another of those finite moments of excellence and recognition for Williams’ music by another world-class orchestra. Their unique ensemble sound adds to a touch of freshness for even the most familiar of pieces here making them their own in really wonderful ways.
The concert does not feel like some straight reading of lesser material but reveals a commitment by the orchestra to put their own stamp on these pieces the way they do with any other repertoire. Some might find that not to their liking, but there are so many different things that pop out of the texture throughout that it often feels like these are new pieces all their own. Most impressive is that the stamina of the orchestra is equally remarkable. With the past year making public concerts a real privilege, The Berlin Concert gives all of us a chance to hear this music as if we were lucky enough to be there ourselves.
It is obvious that the Berlin audience was thoroughly enrapt by the performances as well, you can almost sense a collective “WOW”. The commentary is tracked separately to be skipped if one prefers. A Blu-ray edition of the concert is also available. The release comes as Williams celebrates his 90th (!) birthday but is a gift to music lovers everywhere.
Steven A. Kennedy, 31 January 2022
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
John Williams Greatest Hits
Music composed by John Williams.
17 Tracks (Playing Time = 66:58)
Music performed by the Philharmonisches Orchester des Staatstheaters Cottbus conducted by Evan Christ. Engineered by Hans-Ulrich Holst.
Telos Music 165
Rating: ****
If you were going to record an album of music by one of the most famous film composers of the past century, what would you choose? Such is the dilemma that no doubt crossed the mind of Evan Christ the young conductor of this new release from Telos. Christ is the General Music Director of the Philharmonisches Orchester des Staatstheaters Cottbus, an ensemble that he has worked hard to grow into one of Germany’s fine regional (located in Brandenburg) orchestras. He has done that by innovative programming that includes a great deal of contemporary music.
In January of 2010, the orchestra performed one of its first all John Williams concerts to a sold out crowd. The composer’s music has since entered the standard repertoire of the ensemble and resulted in the present release which comes a few months before the orchestra’s centenary anniversary in October, and the maestro’s 80th birthday.
Christ’s choices here feature several standard Williams works that often are the major recorded pieces for surveys of his music. One expects the familiar marches from SUPERMAN and RAIDER’S OF THE LOST ARK
(where “ Marion’s Theme” is played with less overtly Romantic rubato), and the “Imperial March” (a truly stellar performance) from THE EMPIRE STRIKES BACK. There are the themes for Yoda and JAWS, the “Flying Theme” from E.T. (a rich and well-shaped performance in a class with the London Symphony Sony release) and of course the STAR WARS “Main Title”—presented as an almost anticipatory final “encore” where brass are heard within a more typical orchestral sound (trumpets feel just a tad too far back in the sound picture at first, but it still works). The piece seems just a bit fast at times which makes the lyrical contrasts more interesting. The performance is still convincing and vividly captured. But Christ has also tossed in non-film music in recordings of both the Olympic Fanfare and Liberty Fanfare.Half of the disc is given over to character music from the first two HARRY POTTER films. The album opens with “Harry’s Wondrous World” in a very warm performance. The scores appear to be those available commercially and one will note the more prominent wind work in the second half of this selection where the balance is just a bit different than its score recording. That said Christ’s performance here is relaxed allowing the music to flow beautifully in a slightly ambient acoustic. (In other words, he has a fine sense of the musical needs coupled with the realities of the recording venue. As a personal, having heard some of these selections in Williams’ Boston concerts, one is always struck by how much is going on in the orchestra that you can hear better in the concert versions where the orchestration is allowed to play out as written unaffected by electronic tampering.) “Fawkes the Phoenix” is perhaps one of the composer’s finest character themes and it receives a fine performance that is simply magical here. “Chamber of Secrets” is equally impressive both in its performance and dramatic music making. That level of expectation will follow in the subsequent selections “Gilderoy Lockhart,” “Fluffy’s Harp” (perhaps the oddest choice but it shows off the ensemble’s harpist), “Nimbus 2000” (a tour-de-force for the superb winds of the orchestra), “Hedwig’s Theme” (one of the disc’s many highlights), and “Dobby the Elf” (another odd choice, but still well done).
The ambient space the orchestra performs in makes the recording of the Olympic Fanfare really quite good. Great detail in the orchestra can also be heard in low clarinet sounds that often are buried in even Williams’ and Kunzel’s recordings of the work. Crisp articulation also helps overcome the acoustics of the hall which are a reminder that the ensemble has worked through and gets this music.
The Liberty Fanfare is also quite good though there are a couple of moments when the music feels like it might teeter out of control. And the performance of the “Theme” from JAWS is even better than the ones that were done with the Boston Pops. The opening for the music from SUPERMAN is perhaps a bit too slow, but when it takes off it is dead spot on.
There are a number of Williams releases coming out in February which will be mostly repackaging of Sony and Decca-owned recordings. What makes the Telos disc special is that one can really feel the commitment by the performers who take the music seriously and seem to understand its merits. The Harry Potter selections are spread throughout the disc which also helps provide a proper sense of variety to the album presentation as a whole.
Again, if you do not appreciate concert performances of this music, this will not be worth your time, but there is a lot of fine music making here that really makes for a great listen.
For those of us who grew up wearing out our STAR WARS LPs and Gerhardt re-recordings, there will be moments here that bring back memories when we hoped that more of John Williams’ music would be recorded. In Christ and the Cottbus ensemble we get the best of what happens when a conductor believes in the music and the orchestra has the technical ability coupled with appropriate musicianship to pull it off. The release feels less like a cash-in hurried endeavor and more like the sort of dedicated release one would expect for far more serious classical recordings. A good rule of thumb for these sorts of releases is that as you listen there should be no “surprises” that pull you out of the music (like bad ensemble, intonation, or odd tempo choices). A couple of personal taste quibbles noted above, these are really fine performances that show off the virtuosity of the various sections and do justice to the music.
Telos has also managed to capture the space this orchestra performs in very well. One does wonder how it sounds when playing to filled seats with bodies soaking up some of the sound a bit more but once your ear adjusts to the hall and the orchestra this becomes less of an issue and helps make this a superb release.
The bigger question is will the success of this title perhaps lead to a second follow-up, or perhaps a Goldsmith release. It would certainly be something to look forward too for fans of orchestral film music compilations.
This is a release you will want to pop into your good stereo, turn off the lights, and turn up the volume.
-- Reviewed by Steven A. Kennedy, 26 January 2012
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
A Personal Remembrance by Steve Vertlieb
I've loved iconic "Star Wars" composer John Williams for over sixty years. I'd struggled in vain to find a way to meet him for countless, frustrating decades but it seemed that I might never find an opportunity to see my beloved hero in person.
In 2010, following major open heart surgery in which I nearly died, I was invited by cherished friend, Juliet Rozsa, to join her backstage at The Hollywood Bowl to meet my last living life long hero. I was sobbing with joy as I was introduced by Juliet to this incomparable, legendary motion picture composer. John is a sweet, gentle soul. I shall never forget this oh so tender moment, frozen lovingly and forever, both on film in time and in joyful recollection.
Having miraculously survived that traumatic surgical procedure some twelve years ago, I fulfilled one of the major dreams of my life...meeting the man who would become my last living life long hero. I'd adored him as far back as 1959, as a thirteen year old boy, when first hearing the dramatic strains of the theme from "Checkmate" on CBS Television. That feeling solidified a year later in 1960 with the rich, sweet strains of ABC Television's
"Alcoa Premiere," hosted by Fred Astaire, followed by "Wide County" on NBC.Over the ensuing years, as I matured physically and John matured musically, I grew to love the man and his music. I sensed a new thematic awareness in his music with the release of the TV adaptation of "Jane Eyre" featuring George C Scott. I recall being thrilled on New Year's Eve when going to a first night screening of "The Poseidon Adventure," and hearing his expansive themes for the thrilling finale and end titles. By the time that I'd both heard and seen "The Towering Inferno," I'd become convinced that John Williams had stunningly evolved into one of the screen's greatest composers.
Then came "Jaws," and a minor space opus called "Star Wars," for which he won an Academy Award for the year's best score. "Close Encounters of the Third Kind," "Superman" (which old friend Ron Borst called "John Williams' Christmas gift to the world"), the "Indiana Jones" trilogy, "E.T.," "JFK," "Born On The Fourth of July," "Jurassic Park," "Harry Potter," "Schindler's List," "Space Camp," "Hook," "Home Alone," "War Horse," and so many other glorious themes and scores followed, leaving little doubt in anyone's mind that John Williams, along with Miklos Rozsa, Bernard Herrmann, Alfred Newman, Dimitri Tiomkin, Erich Wolfgang Korngold, Franz Waxman, Max Steiner, Victor Young, Hugo Friedhofer, Elmer Bernstein, John Barry, and Jerry Goldsmith,
had become one of the screen's premiere composers of the past ninety years.As stated earlier, I'd tried for decades to meet John, and yet it seemed that it might never happen.
I'd given up my dreams of meeting this joyous soul... and then, just a few months after enduring nearly six hours on the operating table during physically, and emotionally, catastrophic heart surgery, I received a message of hope from Juliet Rozsa. My brother had chosen to reward me for surviving my medical ordeal, and embracing life once more, by having me visit him in Los Angeles for my first visit West in thirty years. Juliet had graciously promised to try to arrange for a meeting between my last living lifelong hero and I.This particular evening with John in his dressing room, backstage at The Hollywood Bowl in August, 2010, was one of the greatest, most exciting nights of my life. My eyes filled with tears, while my body shook from happiness, as I approached him and, thanks to the kind and generous friendship of Juliet Rozsa, I'd move from death's door and finality to the smiles and warm embrace of "America's Composer," John Williams.
Thank you so very much for the wonder and beauty that you've brought to my life, and to the lives of millions of moviegoers around the world... but, most all, for your incomparable contribution to the worlds of music and film,
uplifting the soul and conquering the spirit with your inspired, heartfelt themes and melodies.Happy Birthday, Dearest Maestro. Wishing you a joyous 90th Birthday. Your legacy shall ever embrace the most exquisite, magical, and glorious sounds of music that one could ever imagine or conceive.
God Bless You, Maestro.
--Steve Vertlieb, February 2022
Special Limited Edition CD
with a Birthday Tribute to John Williams:
Read about the CD,
Film Music Of John Williams On Radio (AMRC 0021)
and the 90th Birthday Tribute -- click here
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