John Williams

The legendary American film composer John Williams conducts the Vienna Philharmonic
Orchestra for the first time Visit from the dear God was the title of the standard,
standing upright jubilant choirs at their first appearance: as if God was received by
earthly disciples John Williams in Vienna documents the historical performance a
very special honour in the life of the composer Symphonic Hollywood sounds on the stage
of the Vienna Musikverein the world-famous orchestra plays cult themes from Star Wars,
Harry Potter, Indiana Jones, Jurassic Park and other milestones in film history Star guest
Anne-Sophie Mutter with adaptations for violin arranged especially for her by Williams Star
Wars, Harry Potter, Indiana Jones, Jurassic Park the soundtracks of the master of cinematic
magic John Williams are among the most popular in the history of film and have received numerous
prestigious awards, including five Oscars, five Emmys, four Golden Globes and twenty-five Grammys.

All the works in this recital, except for those by Sor and Carulli, are transcriptions, from either the lute, piano or orchestra. The composers' ideas are revealed with added intensity in the new medium, and their music sounds as natural on two guitars as if written for them in the first place.

In commemoration of the 25th anniversary of the landmark film, SCHINDLER’S LIST, La-La Land Records, Universal Music Special Markets, Universal Studios, Amblin Entertainment and Geffen proudly present Schindler's List - 25th Anniversary Edition Soundtrack, a 2-CD remastered re-issue of legendary composer John Williams’ Oscar-Winning original motion picture score to the 1994 Best Picture, Schindler's List, starring Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, and Jonathan Sagall, and directed by Steven Spielberg.

Director Steven Spielberg and composer John Williams have forged a remarkable partnership over the past 20 years, one that's evolved in recent years into a very practical balance of art and commerce. The Spielberg/Williams team followed the blockbuster Jurassic Park with the risk-taking Schindler's List, the bloated Jurassic sequel The Lost World with the moralistic Amistad. Williams admirably rises to the challenge again, underplaying the volatile emotions involved and utilizing African rhythmic and modal influences with surprising subtlety. The choral touches of the title and wordless aria of "Cinque's Theme" bring to mind similar stylistic flourishes by Morricone–and that's high praise.

Steven Spielberg's extraterrestrial-themed follow-up to the Jaws phenomena cemented his reputation as a cinematic wunderkind capable of shameless emotional manipulation and continued blockbuster ticket sales. But Close Encounters also displayed Spielberg's wise confidence in at least one of his collaborators. Composer John Williams, fresh from the Wagnerian success of Star Wars, was allowed the unusual luxury of composing much of the Close Encounters score before principal photography began. Thus Spielberg was able (as had Sergio Leone with Morricone's Once Upon a Time in the West) to stage much of his action to the Williams music playing on the set in a rare way. The entire special-effects finale was in fact edited to match the composer's rhythms…