Tori Brazier reviews John Williams: A Life in Music…
From Decca Records and Classic FM comes a new collection of recordings, celebrating the astonishing career of one of the world’s most successful living composers: John Williams.
In January 2018, Williams broke his own record as the recipient of more Oscar nominations than any other living person with 51 (Walt Disney holds the most ever of any individual, dead or alive, with 59). He has also won 24 Grammys, seven BAFTAs, four Golden Globes, numerous gold and platinum records, and converted 5 of his Oscar nominations into wins – a number that many would argue should, by rights, be higher.
John Williams: A Life In Music contains his most famous themes, including the almost beyond iconic ones that he composed for Jaws, Superman and Star Wars. Marking 60 years of Williams working in the film industry, these lush, all-new recordings from the London Symphony Orchestra (LSO) feature an 86-piece orchestra and are conducted by Gavin Greenaway, a composer in his own right and no stranger to epic movie soundtracks – he conducted the soundtracks to Gladiator and several of DreamWorks’ best animated features. The LSO also has a long history of successful collaboration with John Williams himself, having been the original orchestra to record music for Superman, Star Wars and Raiders of the Lost Ark.
Kicking off with the ‘Main Title from Star Wars’, the symmetry of the LSO’s involvement is apparent as the music sounds exactly the same as its first movie appearance. With the ‘Theme from Jurassic Park’, a slightly less bombastic approach than on the film’s soundtrack is evident, with a more delicate balance between sections allowing the strings and percussion to shine, as well as the harp at the beginning of the track. ‘Hedwig’s Theme’ from Harry Potter and the Philosopher’s Stone is the LSO’s first-ever recording of this piece, and the orchestra is able to really emphasise the shimmering effect of the music.
‘The Raiders March’ from Raiders of the Lost Ark, again possibly due to its history, sounds virtually identical to the original and is dominated by the brass section, although with a marginally lighter touch. E.T.’s ‘Flying Theme’ is as beautiful as ever, but the precision of a more recent recording allows for brighter sounds from the woodwind section and clearer top notes. The ‘Theme from Schindler’s List’ is a world premiere recording for cello rather than violin, bringing a more melancholic feel with its sweeter, deeper tone.
Every child of the 90s will respond to ‘The Flight To Neverland’ from Hook, a magical and adventurous piece immediately reminiscent of the film, although a lesser-known theme in this collection. ‘Hymn To The Fallen’ from Saving Private Ryan is another that is indistinguishable from the original, being just as evocative now as it was on the film’s release in 1998.
The collection is rounded off with perhaps the two most famous of all of Williams’ themes, both instantly recognisable. With the ‘Shark Theme’ from Jaws it takes just a few notes, and ‘Superman March’ remains the go-to epic proclamation it’s been since the 70s, and a fitting musical interpretation of its subject.
Throughout this collection of Williams’ music, it is easier to pick out individual flourishes and sections than on previous recordings, no doubt due to both the high quality and advancements in the technical aspects of the recording, as well as the LSO’s exemplary musicianship.
Whether or not this collection is worth investing in is tricky to answer. Ten pieces seems awfully short shrift for a composer of as high a calibre – and output – as John Williams. No room was made for new recordings of his music from Empire of the Sun, Catch Me If You Can or Home Alone, for example. It also depends on whether or not virtually identical interpretations are what you seek. The LSO is one of the best orchestras in the world, but any discerning Williams fan will already own recordings of these themes. It is, however, an excellent place to begin your collection.
Tori Brazier
