John Williams, Conductor Martin Scorsese, Host/narrator (1부) Steven Spielberg, Host/narrator (2부)
Herrmann: “The Inquirer” from Citizen Kane Herrmann: “Ballad of Springfield Mountain” from The Devil and Daniel Webster Herrmann: “Gallop the Whip” from Currier and Ives Suite Herrmann: “Scene d’Amour” from Vertigo Herrmann: Psycho medley (with film) Herrmann: Night Piece for Orchestra from Taxi Driver Herrmann: Prelude from North by Northwest (with film)
John Williams: Excerpts from Close Encounters of the Third Kind John Williams: “Out to Sea/Shark Cage Fugue” from Jaws John Williams: Indiana Jones and the Last Crusade (with film) 나오는 영상 부분이 어린 인디아나*리버 피닉스의 미모를 보여주어서 또 껌벅 넘어가고; (노린 거지욥! 감독님 우리 맘을 너무 잘 아셈~ >.< 과연 성공하실 만 하셈~~~) 스티븐 스필버그 감독의 상세한 해설 코멘트 마무리는 "그럼 음악과 함께 다시 보시지요, 제가 왜 존 윌리엄스에게 음악을 맡기는지, 이것이 바로 그 이유입니다!" John Williams: Theme from Schindler’s List John Williams: Finale from E.T. The Extra-Terrestrial (with film) 아아아... 이 나이가 되어서 E.T.를 보다가 눈물이 날 줄 정말 몰랐소;;; (자전거로 날아오르는 장면;) 내가 이티의 꿈을 먹고 자란 세대가 맞긴 한가 봄; 하아아앙~~~
풍부하고도 세심한 표현력, 잘 정련된 보석같은 느낌. 음악이랑 영상이 너무나도 잘 맞아떨어져서 감탄; 벌떡 일어나 미친 듯이 기립박수 치니, 화끈하게 풀 오케스트라 Ancore 4곡으로 응답!!! (두번째로 Star Wars의 메인 테마가 흘러나오는데 좋아서 펄펄 뛰었음~~ 감동감동감동~~~)
너무너무 활력적이고 귀엽고 깜찍하면서도 우아하셔서... 그저 좋고 행복하고 뿌듯했어욥 ㅠ_ㅠ 여건이 되는 대로 또 갈 것임; 할아버님, 오래오래 사세요!!!
◇존 윌리엄스 간략한 프로필◇ 1932년 2월 8일, New York에서 태어나 Piano를 필두로 Trombone, Trumpet, Clarinet 등을 배우고, Los Angeles로 이주해 Jazz Piano와 Arrage를 배웠으며, The Juilliard School에서 공부한 후엔 UCLA에서 작곡을 전공. 프로 음악가로서의 활동은 너무나 눈부시고 길고도 기셔서 생략... (20세기의 가장 성공한 음악가 중 한 명으로 꼽기에 질과 양 모두 부족함 없음. 존 윌리엄스라는 이름은 몰라도 그가 만든 음악은 보통 현대 사회인 누구나 들어봤을 것 같음; 몇 세기 후까지 남는 음악은... 아마 아카데미 음악이 아니라 이런 것이리라 생각함.)
Classical Music Review Philharmonic and Film: Sound to Bring Pictures to Life By ALLAN KOZINN Published: April 26, 2006
The New York Philharmonic is looking at film music this week, with the composer John Williams on hand to lead works of his own and selections from Bernard Herrmann scores. Helping him out, as hosts, are Martin Scorsese, who introduced Herrmann's music, and Steven Spielberg, who held forth on why, as he put it, he cannot make a film without a score by Mr. Williams.
At the first of Mr. Williams's two concerts, on Monday evening, Avery Fisher Hall was packed, and the audience was both younger and more demonstrative than the orchestra's usual patrons.
Herrmann's music, to which Mr. Williams devoted the first half, has earned a life of its own beyond its use on the screen, an achievement that relatively few film composers can claim. (Erich Korngold, Ennio Morricone and Mr. Williams come immediately to mind.)
Mr. Williams played excerpts from a few of Herrmann's Alfred Hitchcock scores: the insistent and foreboding "Driving Scene" from "Psycho," as well as the "Shower Scene" with its stabbing violin figures, one of the most memorable film cues ever written; the lush, eerily melancholy "Scène d'Amour," from "Vertigo"; and the intricate, energetic "North by Northwest" Prelude, with its rhythmically punchy, repeating wind figures that anticipate Philip Glass.
The orchestra also gave a vigorous account of Herrmann's brass-heavy, jazz-tinged score for Mr. Scorsese's "Taxi Driver," which included supple saxophone solos by Albert Regni. There were excerpts from "Citizen Kane" and "The Devil and Daniel Webster" as well, and less frequently traveled pieces like "Gallup: The Whip," an ebullient movement from one of Herrmann's orchestral suites.
After the intermission Mr. Williams led his pulsing theme from "Jaws," and later added the "Out to Sea" and "Shark Cage Fugue" sections of that score. His half of the program also included a suite of excerpts from "Close Encounters of the Third Kind" and the theme from "Schindler's List," which Mr. Spielberg said was his favorite of Mr. Williams's scores, and in which the Philharmonic's concertmaster, Glenn Dicterow gave a lilting account of the solo violin line.
Particularly striking, though, was Mr. Spielberg's demonstration of how crucial a film score can be. He first showed a chase scene from "Indiana Jones and the Last Crusade" without the music. It was fine, but seemed much longer than the four minutes it actually lasted. When it was shown again, with the Philharmonic playing Mr. Williams's colorful, rhythmically taut score, its tension level was incalculably higher, and it zipped past in no time.
Mr. Williams also led the finale of "E.T. the Extra-Terrestrial" with film accompaniment and, among the encores, music from "Munich" and "Star Wars."
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