Milwaukee Symphony Orchestra
Kate Mossman meets the man behind one of the world's wealthiest rock bands. in cash: the strange, multi-million dollar empire of Trans-Siberian Orchestra . On TSO's first Christmas album, Christmas Eve and Other Stories, Eve; The Lost Christmas Eve; and the DVD The Ghosts of Christmas Eve. Meet Our Artistic Team .. Empire State Youth Orchestra engages more than youth from across New York's Capital Region and Western New England in the. Whether or not you join us Thursday night for New York, Meet Jaap, look up: for yet another year, the Empire State Building will glow lessons, and provided chamber music coaching to students at Shanghai Orchestra Academy (SOA). . The first three concerts of the New York Philharmonic's fourth annual.
Robert has conducted honor bands throughout the United States and Europe and has adjudicated bands and orchestras from 26 states, Canada, Mexico, and Hungary.
His articles and research have been published in several professional journals. Joseph Gumpper String Orchestra E-mail: A graduate of Crane School of Music and the College of Saint Rose, Joe began his career in the Shenendehowa School District, where he first taught in the elementary schools before becoming the director of the Middle School orchestras.
In his current position, Joe conducts three orchestras. Joe also maintains a private studio. An active freelancer, Joe also plays fiddle with several local bands.
He currently plays with Rusticator, an acoustic folk group.
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John has been a guest conductor at numerous Area All-District music festivals. His primary instrument is saxophone. The past 20 years he has been at Niskayuna Central Schools where he is the director of two high school jazz ensembles and also teaches lessons and music theory class. Teaching music, especially jazz, is a passion for Mr.
Fisk and continues to inspire him to this day. In addition to teaching, Dave has been a regular performer in the Capital District. As a leader of his own quartet, he performs regularly at local venues. Leo Milman Concertino Strings E-mail: A professional violinist and music educator, Leo studied the violin from a very young age.
He holds degrees as a professional violinist from the Kiev School of Music and the Minsk Music Academy, where he studied with Olga Parkhomenko, and received a diploma with honors.
Following this, he graduated from the College of St. Rose with an MA in Music Pedagogy. While in that position Leo traveled around Eastern and Western Europe as a member of the orchestra as well as a soloist. After moving to the United States, Leo pursued a teaching career and has been teaching music in public and private schools since Currently he is the string orchestra conductor for the Canajoharie School District.
In addition to teaching, Leo is a soloist and member of a few chamber groups, performing in Albany and the surrounding Capital District. A graduate of Crane School of Music and Walden University, Gen teaches elementary band, high school percussion lessons, and percussion ensemble in the Bethlehem Central School District, and maintains a private percussion studio. The theme gets a whimsical reprise in E.
The Extra-Terrestrial when the alien passes a kid in Yoda fancy dress at Halloween — when Spielberg showed the film to George Lucas, he didn't pre-warn him about the homage and elicited a delighted reaction from the Star Wars creator.
To represent the machinations of the three housewives Michelle Pfeiffer, Susan Sarandon, Cher who conjure up the Devil himself Jack the composer creates a whirling dervish of tune, a wicked waltz utilising violins, woodwinds and harpsichord.
It works in a light-hearted spritely iteration but can also be amped up for flash and thunder dramatics when needs be. Like much of Williams work, you can listen to it just once and it stays in your head for days.
A brutal relentless march symbolizing Indy's rescue of the slave children that starts on a military snare drum augmented with metallic chain percussion and takes off into something victorious. It holds a melodramatic version as Short Round becomes a slave and carries an Eastern arrangement that hints at the film's locale but at it's most rousing, it is the musical embodiment of fortune and glory.
The friend he called was Steven Spielberg, who had recommended the composer to Lucas following Jaws. As the London Symphony Orchestra played the now familiar themes for the first time, an excited Lucas held the phone out towards them for half an hour to share in the excitement.
What Spielberg was listening represented a seismic change in movie music — in soundtrack terms there is Before Star Wars and After Star Wars. The subsequent 90 odd minutes of music not only brought Williams his third Oscar and the biggest selling non pop soundtrack of all time, it ushered in a renaissance in large scale orchestras in general and a Wagnerian leitmotif approach in particular that sees a phrase or melody signify a character, place or idea "dramaturgical glue" as Williams calls it.
As such what we now know as the Star Wars theme initially started life as a motif for Luke Skywalker — we hear a particularly warm rendition the first time we meet him down on the farm, a triumphant version when he pulls the grapple hook from his belt to swing across the Death Star and an urgent anxious version as he zeroes in on the Death Star exhaust port.
Six films later, the fanfare is more widely perceived as a statement representing the whole saga, kick-starting each film with an intense burst of orchestral energy. The theme became so popular that Meco's disco version hit number one on the Billboard chart and has been covered in styles as diverse as reggae Ska Warsbaroque, skiffle courtesy of Mark Kermode Japanese Shamizen and by lounge lizard Nick Witter.
It remains one of the loveliest of Williams' gentler themes — receiving its best rendition during the movie as Marion tries to find a place to kiss a battered and bruised Indy — but gets a sweeping rendition as the action moves to Cairo and a melodramatic airing as Indy watches Marion get blown up don't worry, she's alright.
It is perhaps too delicate than the character herself would like but it is a tender moment of beauty in a score dominated by boys-y bravado. In Jaws' case, this means a sequence juxtaposing a ferry-load of Fourth of July holidaymakers arriving in Amity with Brody and Hooper's frantic attempts to make the beaches safe. In contrast, Williams gives us a refined but light-hearted classical piece of Americana it sounds more New England than Wild Weststarting with a stately string melody before giving away to bright brass and woodwind flourishes.
On the original soundtrack, the cue was named Promenade and given an uncharacteristically black humoured subtitle — Tourists On The Menu. Simple white titles appear over a black background.
Slowly, we hear an ethereal, shimmering noise that changes pitch as it increases in volume, reaching a crescendo as seemingly the whole ensemble delivers one great big orchestral hit as the screen goes to black to a few frames of white to the middle of sandstorm. It might feel like an obvious shock tactic but as a way of getting the audience's undivided attention from the get-go, it works a treat.
He felt The Sugarland Express needed big broad symphonic music so was immediately drawn to Williams' work and invited the composer to see the picture. As was soon to become the norm for their working partnership, Williams persuaded the director that a different musical direction was needed.
Rather than something big and bold, Williams felt the small scale story of a young Texan couple Goldie Hawn, William Atherton going on the run from a cavalcade of cops to pick up their young son from adoptive parents needed something more intimate and human. To help locate the film in its Southern state, Williams used the harmonica as the primary voice in the composition and enlisted the celebrated Belgian harmonica maestro 'Toots' Thielemans' to be his musical conduit.
The theme in the movie is simple, folksy and direct, less ornate than the concert arrangement below, and might not stand at the forefront of the Williams-Spielberg collaborations. But Sugarland remains important in the composer's pantheon for the start of a beautiful, enduring and still creatively exciting partnership. When scheduling conflicts forced Goldsmith to leave the project, Williams stepped in and delivered some of his best work in record-breaking time.
Like many Williams main themes, Superman's signature tune is built around two killer elements — a brass fanfare that suggest the character's Olympian qualities and a more spirited theme that embodies his comic book heroism without ever descending into pulp.
It is the benchmark that any superhero theme must reach — Bryan Singer understood this and just borrowed it wholesale for Superman Returns — and if the USA had any sense, they would make it their national anthem. Williams' theme pays tribute to the nobility and optimism Kennedy represented yet the mournful trumpet solo — stand up soloist Tim Morrison — expresses the regret and tragedy at his passing. Williams is currently in Chicago researching his next presidential anthem for Steven Spielberg's Lincoln.
As is Hollywood law regarding any American movie with Irish subject matter, Williams used the Chieftans AND Enya to evoke Donnelly's homeland — there are lots of pipes, penny whistles, fiddles and bodhrans —in some lovely lyrical passages but the strongest material comes in his use of music associated with Westerns to create the energy of the Oklahoma Land Rush and the optimism of a new frontier.
Still, this remains his best work in the disaster arena, the highlight being the opening overture that covers the first five minutes of the film, a helicopter journey revealing the majestic but doomed building.
From this perspective, it feels a bit '70s but it is a rousing, urgent expansive adventure theme that has more wattage than the all-star cast put together. Weaned on shows such as Twilight Zone and Alfred Hitchcock Presents, Steven Spielberg conceived Amazing Stories as a place to bring to life his stories, plots and high concepts that never found a home in cinemas, delivered by big name directors with the panache and the production values of a big screen outing.
This sense of scale dictated a title sequence that details the entire history of storytelling from campfire tales, via ancient civilisation, books, CG knights, ghosts, spaceship to a family sitting around a TV watching the campfire storyteller spinning his yarn. To accompany the intro, Williams delivers one of his most sprightly adventure tunes — from this perspective it is also works as a time machine taking you right back to the mid '80s. Unsurprisingly, Williams also composed the score for Spielberg's two entries — Ghost Train and The Mission — and while the series was wildly uneven, Williams' theme toon still shines.
Yet the simple two-note alternating pattern didn't convince the director at first — his initial reaction on hearing the theme on the piano was to laugh. As such, we only hear the theme when the shark is present; during the red herring scenes — such as The Fake Fin Incident — the absence of the theme is signalling this is a hoax. Given the effectiveness of the two note — actually E and F — signal, it is often easy to miss the real hero of the Jaws theme: Given the melody is in such a high musical register it would seem that the theme would be better suited to the French horn rather than the low-end tuba.
But Williams felt the instrument gave the theme more weight, more threat. In the wider world, it has entered the culture as a signifier of any kind of encroaching threat, turning up in the likes of Airplane!15BE MEET ORCHESTRA
To detail the bomber's rigorous preparations, Williams unleashes a steely, black-hearted fugue fused with an inexorable rhythmic progression. The score also served to mark the end of the Master Of Disaster phase of Williams career: One is Sabrina and the other is this erotic thriller — Ford is the unlikely named Rusty Sabitch, a lawyer who finds himself in the frame for murdering his own mistress — that sees Williams balance themes of family, passion and murder, under-laying a lush romantic piano theme with sinister orchestral churning, unsettling timpani and the odd chilling synth effect.
A definite change of pace from Williams' blockbuster mode, it became a staple of thriller trailers in the '90s such as The Juror. Often considered the natural successor to Hitchcock's composer Bernard Herrmann as the movie music master, Williams was the perfect choice to score a lighter Hitchcock flick, a dark comedy involving faux psychics, kidnappings and diamonds. Later in his career, Williams would play homage to Herrmann in specific instances as Han Solo opens the cargo hold of the Millennium Falcon, Williams works in a three note refrain from Psycho; in The Terminal, Williams gives us a quick blast of the Cape Fear theme and as a general influence the harried rhythms of Minority Report.
Yet he made his own distinct mark in the Hitchcockverse with Family Plot. It contains sustained stretches of full-on horror music employing synthesisers and Theremin for added weirdness, but at its best, delivers a theme that has the feel of an otherworldly waltz, never easy to get a handle on, bewitching in its gentle iterations, thunderous in its bolder versions.
De Palma has yet to work with Williams again which is a shame: Yet Williams greatest hymn to soaring through the skies comes in E. The theme that accompanies cinema's most famous ride across the moon sees Elliott and E.
Yet the sense of euphoria we feel is part musical alchemy but also part clever foreshadowing. Williams has been preparing us for the theme throughout the film, suggesting the theme first in part, then in whole in various guises — we hear it as E. Light, spirited and infectiously optimistic. Three of the songs found their way into Spielberg's finished film — We Don't Wanna Grow Up is performed by kids in a school play at the start of the film, Pick 'Em Up is the song that sees the Lost Boys whip Peter into shape, When You're Alone is the ballad that Maggie sings to comfort herself in Hook's clutches — but, perhaps because Williams was working of the project for such a long time, it means that Hook is one of the composer's richest, varied, most satisfying outings.
Few of Williams' or anybody else's scores have Hook's multitude of memorable themes, covering comedy tropes for Hook and Smeemelancholy Peter recalling Pan's pastdelicacy Granny Wendymarch-like formality the food fight and high adventure as Peter Banning Robin Williams takes flight as Peter Pan.
With a failed hyperdrive, the Millennium Falcon heads into an asteroid belt to evade the Imperial fleet, dipping in and out of floating boulders, and the orchestra follows Solo every step away, swooping and soaring around the musical register.
There are frantic rhythms, and heroic brass fanfares all adding up to a complex workout for the London Symphony Orchestra.
The standout is The Mission, a strident piece for the network's Nightly News show. Analysing the difference between American and British news themes, Bill Bailey described this theme as "E. Yet Jurassic Park's theme couldn't be more different.
As the Palaeontologists, chaos theoretician and lawyer come across a brachiosaurus grazing by a tree, Williams gives us a string and choral piece — the voices are subtly effective — that speaks to the majesty of the animals and the wonder of the awe-struck scientists it doesn't speak to the lawyer at all. It is romantic and ennobling and a good shout for the most gorgeous thing that Williams has ever written.
It's a lovely lilting ditty that as the drama intensifies, Williams twists into something edgier during the duel with the basilisk, punctuating the battle with brass flourishes and explosive percussion.
But it is best, as here, in this simple elegant arrangement. You may require insulin to listen to this and it only really makes sense in the run-up to Christmas but it is a collection of pretty tunes that also highlights another bi-product of Williams' success. Over the years, he has done arguably more than anyone to introduce kids to classical music, be it Star Wars in the '70s, Indy and E.
At the heart of the film is the song Somewhere In My Memory and Williams reworks the tune into the spine of the score. Despite being the most Oscar nominated person alive, Williams has had a chequered history with the Best Song category—chequered in that he has never actually won it. As Indy knows — but the baddies don't — the Grail is a thing of noble simplicity bereft of any flashy adornments.
Williams' stately motif is a perfect replica.
The wait comes to an end with a broadside of chopping strings and bold-as-brass brass that delivers a full blown adrenaline rush but a surprisingly catchy one too — you just can't help but sing along. Few films have music more integrated into the fabric of their plot than Spielberg's UFO epic, the screenplay built on the notion that mankind and aliens communicate through lights, colour but mainly music.
The composer's initial idea to was to have seven or eight notes, perhaps echoing When You Wish Upon A Star, the song from Pinocchio that Spielberg used to sum up the film's optimism.
Yet the director was adamant that the signal should only be five notes, "more like a ding dong, it's not a melody, not even a phrase," according to Williams — this was to prove a challenge for the composer. I had a few meetings with Steven to play him all of these little themes and we could never figure it out. We were never able to say 'Eureka! This is exactly the one we want! We'll call this friend of mine who is a mathematician to ask him how many five-note combinations within the twelve-note scale there are.
Steven's friend rang us back an hour or so later and he said, 'Approximately ,'. This was all done before Williams had seen a frame of film or even read a script and the notes — B flat, C, A flat, octave lower A flat, E flat as heard at Devil's Tower — were recorded a year before filming commenced. Even though, it is barely a melody, the theme works well in its full-blown orchestral version that plays over the end of the movies as it does in this stripped down synthesizer-mothership conversation.
In the 35 years since the movie came out, it has became a by-theme for any kind of alien activity and has been referenced in culture as diverse as Moonraker — it is the sound of a door code at Drax' s Laboratory — Monsters Vs. Aliens and ITV's happily defunct Heartbeat.
The score flits between the menacing brass motif that has stood in for Keys and co.
80 Reasons Why John Williams Is The Man
The piece also showcases Williams at hitting visual sync points with his music — listen out for the musical sting that accompanies the cut to the Govt. The urgent theme also gets a lovely piano reprise as the end credits roll. It even got to the stage where lyrics were penned by Bond lyricist Leslie Bricusse until Donner nixed the idea, turning it into a voiceover during the in-flight courtship scene.
Williams not only creates a new diabolical all male choir motif for The Emperor, but for the moment where Luke comes out of hiding to duel with Vader "If you will not turn to the dark side, then perhaps she will.
Slower and richer than Duel Of The Fates, it was proof that vocal arrangements could work in the Star Wars musical universe, something Williams explored to great effect in the prequels. Heard in its most dramatic statement as the InGen helicopter arrives at Isla Nublar, it is a classic adventure tune, a brass fanfare augmented by timpani and crashing cymbals.
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Less pulp-y than Raiders, less formal than Star Wars, it is the only music suitable for being chased across a pasture by 65 million year old outsized chickens. It is astonishing to think that Williams composed the diametrically opposed music for Schindler's List straight after. The film's approach is best summed up in the main theme, a simple heart-melting work that is affecting on both solo violin and piano and conveys the sense of humanity and dignity that so many tried to hold onto during the Final Solution, not to mention the tragedy of those who lost their lives.
Interestingly, it also owes something to German musical traditions, perhaps suggesting Schindler himself. Academy Award number five was never in question. This is music to be attended with closed eyes and unsequestered hearts. Obviously it appears as the power of the Ark is unleashed but the theme gets its first major workout as Indy discovers the resting place of the Ark in the map room, choirs adding to the gravity, power and mystery of the motif until pretty much the entire orchestra comes in as the resting place is revealed.
Such orchestral colour obviously earned Williams another Academy Award nomination — number 16 — but he lost out to Vangelis' Chariots Of Fire. The Academy were clearly digging in the wrong place.
It not only catches the tongue in cheek quality of Gene Hackman's Lex Luthor, the woodwind instruments and tuba playing the tune for its comedic stylings, but as the music gets bigger and brassier, building in more and more orchestration, it seems to skewer Luther's pomposity and delusions of grandeur as well. Like many Williams romantic theme, Across The Stars starts gentle — the theme starts on oboe with violins and harp providing a mixture of dark violins and airiness harp — before building to a large-scale string and horn arrangement full of epic sweep and huge passions.
As befits the film's downbeat mood, the orchestral manoeuvres turn dark in the second half, with low-end strings and tubas expressing disquiet. As you'd expect, it flirts with ideas from The Imperial March and soundtrack boffins have suggested it is an inverted version of Luke's theme, hinting at the connection between mother, father and son.
Soaring one minute, breaking your heart the next, it's an example where Williams creates music far richer than the characters deserve. As Quint, Hooper and Brody first encounter the shark and try to stop it submerging by harpooning it with bright yellow barrels, Williams turns Jaws into a pirate movie, dissipating the mood of dread and fear with spirited strings and blazing brass that recalls the golden era of adventure scores by Erich Wolfgang Korngold and Max Steiner — Spielberg even nicknamed Williams 'Max' in honour.
This is so stirring you can almost feel the sea spray on your face. A shifting snaking sinuous string motif that ebbs and flow, it is used to represent desperation stations in the park, be it dino-related — this version covers raptor action — or human-centric — a more elaborate take sees it cross cut between Alan Grant and the kids climbing the electric fence while Ellie Sattler labours to turn the electricity on.
It's great to the ear but an assault on the nervous system. Yet he is equally adept at creating the polar opposite, troubling atonal colours that are usually the province of avant-garde classical concert halls. It's a technique Williams frequently uses in the Indiana Jones movies to suggest scary animals — listen to the strings in the Well Of Souls — but it gets perhaps its most extreme example in Close Encounters. As aliens descend to abduct little Barry Guiler Cary Guffeythe house goes ape-shit, the record player turning on playing Chances Are by Johnny Mathisthe hoover coming alive and the floor vent screws slowly unscrewing themselves.
Williams enhances the terror with full-on orchestral and choral tumult, the ensemble churning, rumbling, ascending and stinging for all they're worth. This is what it must sound like inside David Lynch's head.