Distinguished author Emilio Audissino talks about his acclaimed book The Film Music of John Williams - Reviving Hollywood's Classical Style, the first and only monograph book in English language dedicated to the music of Maestro John Williams, now updated and revised in a newly published second edition from University of Wisconsin Press.
In this conversation, Audissino talks about the process that brought him to write a book on John Williams and the specific angle he chose, focusing on the composer's revival of Hollywood's classical symphonic style through the film scores of such movies as Jaws, Star Wars and Indiana Jones, adding his own thoughts on the burgeoning study work on John Williams' music by academic professors and researchers across the globe that happened in the last few years. Audissino also talks about updating the second edition with a new chapter dedicated to the film/music analysis of Williams' gothic score for John Badham's Dracula (1979). Joining the conversation is music theorist Frank Lehman, another distinguished scholar who devoted a lot of his field work to the music of Maestro Williams.
For more information, visit https://thelegacyofjohnwilliams.com/2021/09/24/legacy-conversations-emilio-audissino/(opens in a new tab)
The restoration of Maestro John Williams’ rich filmography adds another pivotal item to its ongoing process of “future proofing”. Intrada Records has just released a 2-disc expanded edition of one of the Maestro’s most interesting and diverse scores of his pre-Jaws era: The Eiger Sanction, written for the 1975 alpine thriller directed by and also starring Clint Eastwood, in his one and only collaboration with the composer. The new release is produced and remastered by Mike Matessino, who continues to be the ultimate guardian of John Williams’ film score presentations through his universally admired painstaking methodology of soundtrack restoration, preserving the Maestro’s work for all future generations in the best and most accurate way.
The original soundtrack album issued on MCA Records at the time of the film’s theatrical release was a re-recording where Williams selected cues from the score expanding and repurposing them for a more cohesive listening experience. The brand-new 2-CD release by Intrada Records presents both a remastered version of the 1975 MCA soundtrack album and the premiere release of the original film recording, featuring a great deal of unreleased music, including never-before-heard material that was written and recorded for a longer cut of the film. All the material has been painstakingly restored and remastered by Mike Matessino. The end product is a wonderful musical journey that puts a well-deserved spotlight on one of John Williams’ lesser-known yet most fascinating and diverse scores to be found in his long and rich filmography.
In this conversation, Mike Matessino returns to The Legacy of John Williams podcast to present this new 2-disc expanded edition of John Williams’ score for Clint Eastwood’s alpine thriller, spotlighting and documenting his own unique restoration work while offering thoughts and insights on the Maestro’s music for the film.
For more information, visit https://thelegacyofjohnwilliams.com/2021/08/10/the-eiger-sanction-podcast
If you’ve heard an exquisite solo cello while watching a big Hollywood movie of the last 25 years, it’s very likely that you were listening to the stunning musical talent of Stephen Erdody. He’s one of the most distinguished and talented cellist working in the studio world, but also a very fine classical musician who have spent many years playing with symphony orchestras and chamber groups. His impeccable playing impressed also Maestro John Williams, who appointed him as principal cello of all his recordings in Los Angeles since 1999 until today.
Stephen Erdody performed cello solos for John Williams on such scores as Angela's Ashes (1999), A.I. Artificial Intelligence (2001), Munich (2005), War Horse (2011) and The Book Thief (2013). He performed a duet with world-renowned cello superstar Yo-Yo Ma on the score for Memoirs of a Geisha, and also was 1st cello on the Star Wars sequel trilogy produced by Disney. In addition to film scores, Erdody was also principal cello on various recording projects, including the albums American Journey (2002), Yo-Yo Ma Plays the Music of John Williams (2002) and The Spielberg-Williams Collaboration Vol.3 (2017).
Steve is the most renowned studio cellist working in Hollywood today and has recorded hundreds of film and television scores with many top film composers including Hans Zimmer, James Newton Howard, Danny Elfman and Ludwig Goransson. You can hear some of Steve’s lovely solos on such scores as I Am Legend (James Newton Howard, 2009), The Pacific (Hans Zimmer, Geoff Zanelli & Blake Neely, 2010), August Rush (Mark Mancina, 2009).
In this conversation, Steve talks in-depth about his distinguished career as Hollywood’s preferred principal cello and his many collaborations with John Williams on such scores as Angela’s Ashes, Munich, Memoirs of a Geisha, War Horse and many others, offering his own deep thoughts and reflections about the uniqueness of Maestro Williams’ music and the role of the cello in his scores, telling many stories and anecdotes from decades of recording sessions with him.
For more information and a list of musical excerpts go to https://thelegacyofjohnwilliams.com/2021/07/26/stephen-erdody-podcast
The esteemed Soundtrack Producer discusses two classic John Williams' film scores recently released: Steven Spielberg's 1989 aviation drama Always and Robert Altman's 1972 cult classic Images
Hosted by Maurizio Caschetto and Tim Burden
As we reach the middle point of 2021, fans and admirers of John Williams have more than a reason to be happy and cheerful at the moment. A couple new CD releases present two of Maestro Williams's most unique and varied scores of his extensive filmography: the first official commercial edition of the soundtrack for Robert Altman's disturbing and fascinating cult classic from 1972 Images (released by Quartet Records) and a newly expanded edition of the score for Steven Spielberg's 1989 aviation drama Always (released by La-La Land Records). Both titles have been meticulously restored and remastered by soundtrack producer Mike Matessino, who continues to be the ultimate guardian for what he called the "future proofing" of John Williams' invaluable musical legacy in terms of album releases.
Images is one of Williams' most original and groundbreaking scores of his entire career, while Always showcases the Maestro's more intimate and quiet musical persona.
In this new exclusive audio interview, Mike Matessino talks with The Legacy of John Williams about the restoration of these new editions of John Williams' Images and Always, focusing on the respective places of these scores in Williams' filmography, offering his own always deep thoughts about both movies and their scores, spotlighting his methodology and creative decisions in producing these new stellar albums that should belong in the soundtrack collection of any student of John Williams' music. The discussion features various exclusive audio clips from both releases.
For more information, visit https://thelegacyofjohnwilliams.com/2021/06/24/mike-matessino-always-images-podcast
John Williams is the film composer who, more than any other, was able to take the great tradition of the Golden Age of Hollywood's film music and revive it for modern audiences. Thanks to the impressive box office success of such films as Jaws, Star Wars, Close Encounters of the Third Kind and Superman, the late 1970s saw a resurgence of the classic symphonic film score as intended by the great composers of the Golden Age: Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Dimitri Tiomkin, Miklós Rózsa, Franz Waxman, were the forefathers of what is commonly referred as "the Hollywood sound", i.e. the lush, romantic orchestral vernacular in vogue during the 1930s, '40s and '50s, mostly based on the great tradition of Late Romantic symphonic music from Europe, of which all the aforementioned composers were all natural descendants. This type of vibrant, colorful and emotional musical accompaniment defined Hollywood's film music until the dramatic turn of the tide known as the end of the studio era in the early 1960s. John Williams restored almost single-handedly that tradition with a sincere, heartfelt homage to those musical stylings and a new renaissance of film music began.
This is the starting point of this new episode of the Legacy Conversations series on The Legacy of John Williams podcast, featuring two very esteemed and distinguished special guests who are among the most respected authorities on the subject of classic film music: author Steven C. Smith and composer/conductor William T. Stromberg.
Steven is an Emmy-nominated documentary producer, author, and speaker who specializes in Hollywood history and profiles of contemporary filmmakers. He is the author of two acclaimed biographies: Music by Max Steiner: The Epic Life of Hollywood’s Most Influential Composer (Oxford University Press), and A Heart at Fire’s Center: The Life and Music of Bernard Herrmann (University of California Press).
William T. Stromberg is a respected composer and conductor working in the film music business since the late 1980s. Together with his artistic partner John W. Morgan, he produced an impressive amount of brand-new recordings of classic film scores from the Golden Age of Hollywood by Max Steiner, Bernard Herrmann, Erich Wolfgang Korngold, Franz Waxman, Dimitri Tiomkin and other illustrious composers, including premiere complete recordings of such iconic scores as King Kong, The Adventures of Robin Hood, Fahrenheit 451, The Egyptian.
The profound expertise and knowledge of both Steven C. Smith and William Stromberg make them the ideal guests to talk about the lineage that connects John Williams to the great tradition of the Golden Age of Hollywood’s film music, especially to composers like Max Steiner and Bernard Herrmann.
For more information and the list of the musical excerpts featured in the episode, visit https://thelegacyofjohnwilliams.com/2021/06/10/steven-c-smith-william-stromberg-podcast
Flutist Louise Di Tullio is one of the true icons among the generation of musicians performing in the Los Angeles area who came on the scene between the late 1950s and early 1960s. In an amazing career spanning almost six decades, Louise performed both as a world-class classical player and studio musician, often in the position of principal flute, for countless film scores, recording projects and live performances.
A native of Los Angeles, Louise Di Tullio comes from a family of very distinguished musicians who had incredible careers as classical players and studio musicians. Louise started to play flute at a very young age and soon began to take lessons to become a professional musician. Before reaching the age of 20, Louise joined the LA Philharmonic, playing piccolo in the flute section, following in the footsteps of her father and two uncles. After six years with the Philharmonic, she found success in all aspects of the recording world. Louise started to perform in Hollywood studio orchestras, mostly as a piccolo player, and was contracted regularly to play for big name film composers including Alfred Newman, Jerry Goldsmith, John Barry and of course John Williams.
Louise’s first session with John Williams dates back in 1969 for the score for The Reivers. You can hear Louise’s playing, often performing both delicate and virtuosic piccolo parts, on such iconic scores as The Towering Inferno, Jaws, Close Encounters of the Third Kind, The Fury, 1941 and E.T. The Extra-Terrestrial.
In 1990, Louise inherited the first chair from Sheridon Stokes as principal flute for John Williams and from this moment onward her career as studio musician became the stuff of legend. As principal flute, Louise Di Tullio can be heard performing on many John Williams’ scores since 1990, including Home Alone 1 and 2, Hook, JFK, Far and Away, Jurassic Park, Schindler’s List, Rosewood, Seven Years in Tibet, A.I. Artificial Intelligence, Minority Report, Catch Me If You Can, War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull, The Adventures of Tintin, War Horse, and The Book Thief.
Besides her work in countless John Williams’ scores, Louise Di Tullio served as principal flute for many other great film composers, including Jerry Goldsmith, John Barry, James Horner, Lalo Schifrin, Bill Conti, James Newton Howard, Bruce Broughton, Danny Elfman, among others. Over the course of her extraordinary career, Louise performed on Soundtracks.html">more than 1,200 motion pictures and tv films including some of Hollywood's biggest hits of the last 50 years.
In this conversation, Louise reminisces for the first time since many years about the legacy of her extraordinary musical family, the first steps as a classical player, including performing under Igor Stravinsky. Louise talks extensively about her many years recording film scores with John Williams, from her first experiences playing piccolo on The Reivers and Jaws, to her playing as principal flute on scores like Hook, Jurassic Park and War Horse, recollecting many memories and sharing her point of view about the music and the art of Maestro John Williams.
Visit https://thelegacyofjohnwilliams.com/2021/05/28/louise-di-tullio-podcast/ for more informations and the list of the musical excerpts featured in the episode.
Los Angeles-based Italian composer Antonio Di Iorio has written the logo music for The Legacy of John Williams website and podcast show. From now on, the title theme will open the episodes of the podcast show and the future audio and video special features.
Antonio Di Iorio is a Los Angeles based award-winning composer for film, TV and concert hall. He graduated in Composition, Piano and Conducting in Italy and in Seattle. In 2014, he attended the coveted and highly selective ASCAP Film & TV Scoring Workshop with Richard Bellis in Hollywood. He has heavily worked alongside film composer Tom Holkenborg (aka Junkie XL) as additional composer for 4 years, and his music can be massively heard in such movies as Godzilla Vs Kong, Sonic The Hedgehog, Terminator: Dark Fate, Mortal Engines, Alita: Battle Angel, Tomb Raider, The Dark Tower.
Visit Antonio Di Iorio official website: www.antoniodiiorio.com
Spotlight on John Williams presents the City Light Symphony Orchestra conducted by English-born Maestro Kevin Griffiths in a 100-minute musical journey throughout some of John Williams’ movie masterworks, featuring such acclaimed soloists as Valentine Michaud, Reinhold Friedrich and Paul Meyer. The selections include 21 tracks, including music from many of the popular film franchises the composer is associated with – the Star Wars saga is represented by a 4-movement suite from The Force Awakens and the Indiana Jones movies with the riveting “End Credits” suite from The Temple of Doom, while the Harry Potter wizarding world is featured with four selections from The Sorcerer’s Stone, The Chamber of Secrets and The Prisoner of Azkaban. The stirring themes from such beloved film scores as Hook, Jurassic Park, Superman are also represented, but there is space for other Williams’ gems like “Viktor’s Tale” from The Terminal, the patriotic themes from JFK and Born on the Fourth of July, the jazzy 3-movement “Escapades” suite for alto saxophone from Catch Me If You Can, the lively opening credits from The Adventures of Tintin, and the stirring Americana of The Cowboys Overture.
The recording is a real showcase of the City Light Symphony Orchestra’s brilliance – the performance is tight and vigorous, the spectrum of sonorities they bring out is sparkling, full of colours and nuances, but always focused and sharp at the same time.
In this conversation, conductor Kevin Griffiths talks with The Legacy of John Williams about the challenges of recording the album, how the project was put together and how he worked with the City Light Symphony Orchestra to bring out all the marvelous nuances and details of John Williams’ music. He also talks about the differences of conducting live to picture vs. traditional symphonic setting, how the audience’s perception of film music has changed throughout the years, and what John Williams’ music meant for him since childhood, while also reflecting on the legacy of the Maestro.
Spotlight on John Williams is released on Prospero Classical
For more information, visit https://thelegacyofjohnwilliams.com/2021/04/09/kevin-griffiths-city-light-interview/
Few contemporary classical composers have such a wide-ranging, colorful and personal style like Kevin Puts. Winner of the coveted Pulitzer Prize in 2012 for his debut opera Silent Night, he has become one of the leading American composers of his generation. Critically acclaimed for a richly colored, harmonic, and freshly melodic musical voice that has also been described as “emotional, compelling, and relevant,” his works, which include two operas, four symphonies, and several concertos, have been commissioned, performed, and recorded by leading orchestras, ensembles and soloists throughout the world.
A native of St. Louis, Missouri, Kevin Puts started to study piano during childhood. His love for music was ignited by the John Williams’ scores for such films as Star Wars, The Empire Strikes Back and E.T. The Extra-Terrestrial, which made a lasting effect on him and were among the main inspirations to pursue a career as a composer.
His love for movie music, and specifically John Williams, led him to a musical style characterized by a strong storytelling element. His compositions have been often described as “cinematic” and “film-like” by music critics and commentators, an observation that Puts always took as a compliment.
Puts’ catalogue is truly impressive and includes major orchestral, symphonic and operatic works and a great deal of chamber music as well. His Pulitzer Prize-winning opera Silent Night is probably his most important and successful work so far. It was premiered by Minnesota Opera in November 2011, and marked his debut in the genre of opera and vocal works. Describing his work, Puts said he was “going for a cinematic quality, commenting on the action and the emotions of a scene as it unfolds as a great film composer like John Williams might do it”.
In this conversation, Kevin talks about his career as a contemporary classical composer, his approach to composition as storytelling, and how much the music of John Williams inspired him since childhood, particulary the score of E.T. The Extra-Terrestrial.
For more information and the list of musical excerpts featured in the episode, visit https://thelegacyofjohnwilliams.com/2021/03/22/legacy-conversations-kevin-puts/
Hosted by Maurizio Caschetto and Tim Burden
Trumpet legend Tim Morrison has defined probably more than any other soloists one of the key signature styles of John Williams, enhancing the American spirit in many of the composer's brilliant pieces for film and the concert hall through his singing, lyrical trumpet sound and purity of tone. Tim Morrison has been the voice of Ron Kovic's struggle in Born on the Fourth of July and the reminiscence of President Kennedy's core American values in JFK; he underlined John Quincy Adams' noble speeches in Amistad, and accompanied with somber, plaintive tones the drama of World War II American soldiers in Saving Private Ryan. Whenever John Williams needed that signature American sound in some of his film scores, he often chose Tim Morrison to be the interpreter of choice. Also, as Principal Trumpet of the Boston Pops Orchestra from 1987 to 1997, he has often being the soloist of choice in many concerts and recordings with Williams on the podium.
In this wide, in-depth conversation, Tim Morrison talks about his brilliant career and musical life, from his studies and early days as performer to his arrival in Boston, his many collaborations with John Williams as soloist on Born on the Fourth of July, JFK, Nixon and Saving Private Ryan, but also the many brilliant Boston Pops recordings he performed in, including the iconic Summon the Heroes solo. He also reflects on Williams' comment about his "American sound", his life as studio musician in L.A., and his solo recording album After Hours.
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