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Would be fun to flip through some of those pages some time. A few of them familiar (Randall Meyers, Adorno/Eisler). Of course I am also hugely anticipating the Grieving book in a few short months. Friends and family who are already tired of me bringing up little Williams anecdotes from time to time don’t know what’s coming their way…
As a youngster I pretty much wore out the school library copy of the late Roy Prendergast’s “Film Music: A Neglected Art”. As I understand it, it was the only comprehensive book on film music for many years after its publication (1977). I have a lot of great memories marveling at the details in the craft of the Golden Age masters, as presented by Prendergast. It has been too many years since I last opened the book. Perhaps it is finally time to order my own copy!
The book I actually own myself is not one I could recommend, although I’d be happy to hear from someone who might have found the book useful? Only in Norwegian, the book approaches the subject of film music from a strictly theoretical perspective. It felt awkward and artificial, and the author’s limited experience with the actual “mechanics” of making music, as it seemed to me at least, made the book unrealistic. However, the publisher claims the book is “internationally recognized”, so it might be me there’s something wrong with. Open for the possibility!
Wrong topic to say all is well? I’m off to Risør shortly, for the chamber music festival. Looking forward to “getting away”, even if it’s only for a few hours.
Sad to hear about the tinnitus Thor. Sure hope you have some useful remedies to alleviate the stress.
Hollow Man has, as I recall it, one of the better DVD audio commentary tracks from Goldsmith. I think he only did two or three of those, while that whole concept was trending in the early 2000s. I’ll have to revisit those tracks at some point, as it provides a unique window into his way of interpreting a picture.
On the subject of Goldsmith, I find the Star Trek Voyager Theme to be the best of the Trek-themes. To have a theme so simple, yet projected with such nobility, grandeur and sophistication, is astonishing to listen to. I could listen to it every day, and never tire. I believe there is an interview with Joel McNeely, who orchestrated for him, where he of Goldsmith says something to the effect of “so few notes, so much music”.
Lovely picture! Although while you had a “thumbs up” moment I’m pretty confident mine was the equivalent of a thumbs down. Or as I was thinking at the time; a signal to the ushers to “get this guy outta here”.
Thanks, Thor. Wonderful initiative to have this forum.
I thankfully got to see Williams live in May 2009 for the premiere of the viola concerto (Boston). I was right at the front, seated at a table directly in front of the podium. I clearly didn’t understand the etiquette at all, as I was severely underdressed fashioning a striped cotton sweater and brown jeans among all the galla dresses and tuxes. Although it wasn’t a great feeling realising my huge mistake, as Williams turned around to greet the audience during the first applause he suddenly stared right at me, surely noticing the red-and-grey-striped sweater. Similar thing happened in the parking lot as he looked around to say hello, as about 40 of us waited for the possibility of a short greeting and perhaps autograph signing. I like to think there is a hidden irony there, that the “disrespectfully” dressed lad actually emptied his student bank account and travelled across the Atlantic just to be there that one evening. The over-dressed people I shared table with actually complained they didn’t “recognise any of his tunes” as much of the program consisted of works like Jane Eyre, a brand new viola concerto, “Stargazers” based on the friendship theme of E.T., and other rarities (relatively speaking).
I’m actually glad I’ve never actually met him (or perhaps that what I keep telling myself to save me the disappointment?). A decade or so ago I was able to visit the lads at Jo Ann Kane Music Service, and quite freely roam their unbelievable library of scores and handwritten manuscripts. On a desk near the main entrance was a small table with a handwritten manuscript. I recognised Williams’ handwriting right away and the theme from Schindler’s List arranged for cello, instead of violin. That version is likely to be the one recorded with Yo Yo Ma and the NY Phil a few years ago. I asked about the manuscript and was told Williams had come by personally to drop it off only a few moments prior to my arrival. If I had been there I would likely not have been able to speak or do anything, and I’m not one to care much about a photo or autograph, so I feel its perfectly OK that it wasn’t meant to be!
February 2005. Purely by chance, I was to be in London visiting relatives at the very same time John Williams was at Abbey Road recording the hugely anticipated Revenge og the Sith with the LSO… and he was scheduled to appear as conductor of the LSO at Barbican Hall for an evening of his film music! With help from my mother I was able to get tickets, and actually remember trying to conceal some of my excitement at home as certain family members would tease me for my interests. Unfortunately, Williams did not participate that evening with the official reason he was due to commence work on War of the Worlds (Dirk Brossé was his replacement). I don’t recall much of the disappointment (however substantial that must have been at the time), only the thrill of experiencing the entirety of that evening. A special greeting to the audience from Steven Spielberg was read by the emcee (I remember being mesmerized by that), and several musicians were interviewed about their experience recording Revenge of the Sith and other scores – including the great, late Maurice Murphy. In hindsight, what a privilege to have heard him play the opening of Star Wars shortly before his retirement. Context is everything, and the joint facts that this was the first time I heard any of that music performed live, and got to meet and feel the excitement of others with a very similar passion to mine, made it a very special evening.
