1. John Williams
By: Mark Campbell

2. Biography Full name: John Towner Williams Born February 8, 1932
Son of a percussionist
John Williams was born on February 8, 1932 in Long Island, New York. His full name is John Towner Williams. As a son of a percussionist for CBS Radio and the Raymond Scott Quintet, he became interested in music at an early age.

3. The Young Musician Always had an interest in music
Wanted to become a concert pianist
At 16, started his own jazz band
At 19, premiered his first original piece, a piano sonata.
Studied orchestration at UCLA and the Los Angeles City College
Attended Julliard to study piano
When he was 15 years old, he was determined he was going to become a concert pianist. He moved to Los Angeles in 1948 and became the leader of his own jazz band and started to experiment with arranging tunes. At 19, he premiered his first original composition, a piano sonata.
He attended both UCLA and the Los Angeles City College, where he studied orchestration under MGM musical associate Robert Van Eps and was privately tutored by composer Mario Castelnuovo Tedesco. He later attended Julliard, where renowned piano teacher Madame Rosina Lhevinne helped him hone his performance skills. While attending Julliard, he played in jazz clubs to pay his while attending there.

4. Welcome to Hollywood Returned to California in the late 1950s
Wanted to start a career in Hollywood
Started as a piano player
In the late 1950s, Williams returned to California and started working as a piano player for some studios. He accompanied for Peter Gunn, South Pacific, and To Kill a Mockingbird. At the age of 24, he became a staff arranger at Columbia and then at 20th Century-Fox.

5. From Television to Films
Starting composing for television
Won an Emmy in Outstanding Acheivement in Musical Composition for his work in Jane Eyre and Heidi
Success led to composing for film
While there, he orchestrated for Alfred Newman, Lionel Newman, Dimitri Tiomkin, and Franz Waxman. Williams continued to gain success in composing for television. He composed the music to television’s Heidi and Jane Eyre, each of which earned him an Emmy in Outstanding Achievement in Musical Composition. Williams’ success continued. He started composing for films.

6. Fiddler on the Roof
Won his first Oscar in Best Original Scoring Adaption and Original Song Score for Fiddler on the Roof
In 1971, he won his first Oscar in Best Scoring Adaptation and Original Song Score for Fiddler on the Roof. Williams wrote the score for several disaster movies in the 1970s including The Poseidon Adventure, Earthquake, and The Towering Inferno.

7. Williams and Spielberg: A Blockbuster Team
Williams composed all but 2 of Spielberg’s films
Some major collaborations include:
Jaws
Close Encounters of the Third Kind
Raiders of the Lost Ark
E.T. The Extra-Terrestial
Jurassic Park
Steven Spielberg, having been impressing with Williams’ work in The Reivers, approached Williams about composing for his next film, The Sugarland Express. This partnership with Spielberg would create a blockbuster team. Williams composed for all but two of Spielberg’s films. Williams won his first Academy Award for Best Original Dramatic Score for Jaws while under this partnership. Later they collaborated on Close Encounters of the Third Kind in which they both received an Academy Award nomination. Williams composed the score for Spielberg’s blockbuster, Raiders of the Lost Ark. In 1982, the two teamed up again for E.T. The Extra-Terrestrial, which received nine Academy Award nominations including a win for Williams for Best Original Score. The critically acclaimed score of E.T. The Extra-Terrestrial also caught Williams his third Golden Globe and his fourth BAFTA award.

8. Williams and Lucas Composed the score for Star Wars in 1977
Won Best Original Score for Star Wars
Best-selling score only soundtrack
Continued and wrote the scores for The Empire Strikes Back and The Return of the Jedi
Received Academy Award nominations for both sequels
Following the success of The Sugarland Express, Spielberg introduced Williams to his friend and fellow director, George Lucas. He composed the best-selling score only soundtrack of all time in for Lucas’ Star Wars in 1977 (later renamed Star Wars: Episode IV- A New Hope). For the 1977 Academy Awards, Williams was nominated twice for Best Original Score- once for Close Encounters of the Third Kinds, and once for Star Wars. He won the Oscar that year for his work on Star Wars. Williams continued his partnership with Lucas and wrote the scores for The Empire Strikes Back and The Return of the Jedi, both of which he received Academy Award nominations. Williams continued to create original scores for blockbuster hits. He acquired his last Oscar for his work for Schindler’s List in 1993.

9. And the winner is…
Awards: 5 Academy Awards 2 Emmys 3 Golden Globes 6 Saturns 7 BAFTA awards 18 Grammys
Williams composed some of the most recognizable film scores in the history of motion pictures. He has composed music for almost 80 films. Williams has received numerous awards including 45 Academy Award nominations, five of which he won. He also won two Emmys, three Golden Globes, six Saturns, seven BAFTA awards and 18 Grammys.

10. Orchestra Conductor
In 1980, named Conductor of the Boston Pops Orchestra
Retired as conductor in 1993
Boston Pops Laureate Conductor
Has appeared as a guest conductor :
-London Symphony -Cleveland Orchestra -Philadelphia Orchestra -Chicago Symphony -Pittsburgh Symphony -Dallas Symphony -San Francisco Symphony -Los Angeles Philharmonic
Williams also has written several concert pieces. In January 1980, Williams was named Conductor of the Boston Pops Orchestra. He led the Boston Pops Esplanade Orchestra on tours of the US and the Boston Pops Orchestra on two tours in Japan. Following his retirement as conductor in 1993, he was given the title of Boston Pops Laureate Conductor. He has also appeared as a guest conductor at a number of major orchestras across the country including the London Symphony, the Cleveland Orchestra, the Philadelphia Orchestra, the Chicago Symphony, the Pittsburgh Symphony, the Dallas Symphony, the San Francisco Symphony and the Los Angeles Philharmonic. In 1998, Williams was inducted into the Songwriters Hall of Fame. Two year later, he became the first inductee into the Hollywood Bowl Hall of Fame.

11. Let the Games Begin!
Composed the Olympic Fanfare and Theme for the Los Angeles Games in
Received an Emmy for Olympic Fanfare and Theme
Composed Summon the Heroes in 1988
Composed Call of the Champions for 2002 Winter Olympics in Salt Lake City
In 2003, awarded the Olympic Order
In addition to write film scores, Williams has received recognition through his work he composed for the Olympic Games. He composed the Olympic Fanfare and Theme for the Los Angeles Games in He was awarded an Emmy for Best Instrumental Composition for this motivating number. He also wrote Olympic Spirit for NBC’s Olympic coverage in For the 1996 centennial games in Atlanta, Williams composed Summon the Heroes. Williams’ latest Olympic composition, Call of the Champions, was the theme for the 2002 Winter Olympics in Salt Lake City. He conducted the Utah Symphony and the Mormon Tabernacle Choir during the opening ceremony. In 2003, he was presented the Olympic Order. Williams has the great ability to create music that has inspired millions. His Olympic themes incite feelings of heroism and triumph.

12. National Medal of Arts Honor for Artistic Excellence
“These individuals and organizations show us how many ways art works every day. They represent the breadth and depth of American architecture, design, film, music, performance, theatre, and visual art”
-NEA Chairman Rocco Landesman
John Williams was one of the National Medal of Arts awardees in The National Endowment for the Arts (NEA) considers this award the nation’s highest honor for artistic excellence. At the ceremony at the White House, the NEA Chairman Rocco Landesman said, “These individuals and organizations show us how many ways art works every day. They represent the breadth and depth of American architecture, design, film, music, performance, theatre, and visual art” (White House Announces 2009 National Medal of Arts Recipients)

13. Composition History
Star Wars Main Title from Star Wars: Episode IV- A New Hope
The Raiders March from Raiders of the Lost Ark
Olympic Fanfare and Theme

14. Star Wars Main Title Composed in 1977
Associated with the film’s protagonist, Luke Skywalker, adventure, and heroism
Gives “the beginning of the record the feeling of an overture”
Nominated for album of the year at the Grammy Awards
Won an Oscar for Best Original Score
Best-selling score-only soundtrack of all time
John Williams composed Star Wars Main Title for the film Star Wars: Episode IV – A New Hope in One of the most easily recognizable theme songs, this piece opened the first Star Wars film. The specific versions I am using for this project was performed by the London Symphony Orchestra. The iconic melody found in this song is used throughout the film score. This theme is associated with the film’s protagonist, Luke Skywalker, adventure and heroism. The song opens with unforgettable brass cords and fanfare. When first release on vinyl in 1977, John Williams noted that this piece gives “the beginning of the record the feeling of an overture” (John Williams Web Pages). The album was nominated for album of the year at the Grammy Awards in 1977 but lost to Fleetwood Mac’s Rumours. However John Williams was awarded an Oscar for Best Original Score for Star Wars at the 1977 Academy Awards. The album became the best-selling score-only soundtrack of all time. This album also holds the number one spot on American Film Institute’s film score list.

15. The Raiders March Known as the Indiana Jones Theme
Nominated for Best Original Score at the Academy Awards
Won Grammy for Best Album of Original Score Written for a Motion Picture or Television Special in 1982
Originally two pieces but Williams, at Spielberg’s recommendation, created a combo
The Raiders March was composed for Spielberg’s first Indiana Jones film, Raiders of the Lost Ark. Williams was again nominated for the Best Original Score at the Oscars and for the Anthony Asquith Award for Film Music at the BAFTAs for the album. He won a Grammy for Best Album of Original Score Written for a Motion Picture or Television Special in 1982 for Raiders of the Lost Ark. The score, release in 1981 by Columbia Records, was performed by the London Symphony Orchestra under the direction of John Williams. The Raider March is also known as the Indiana Jones Theme and is the centerpiece of the score. The song has an adventuresome nature, with strong brassy tones, which related well to the spirit of the Indiana Jones. Williams originally wrote the march in two separate segments. However, when Steven Spielberg heard the two marches, he told Williams he liked both. Williams then created a combination of the two which resulted in the iconic march. Steven Spielberg remarked, “Were it not for many crucial bursts of dramatic symphonic accompaniment, Indiana Jones would surely have perished in a forbidding temple in South America or in the oppressive silence of the great Sahara desert. Nevertheless, Jones did not perish but listened carefully to the Raiders of the Lost Ark score. Its sharp rhythms told him when to run. Its slicing strings told him when to duck. Its several integrated themes told adventurer Jones when to kiss the heroine or smash the enemy. All things considered, Jones listened...and lived. John Williams saves yet another life and gives our picture, Raiders of the Lost Ark, a new, refreshing life of its own” (Raiders of the Lost Ark: Editorial Review).

16. Olympic Fanfare and Theme
Composed for the 1984 Olympic Games in Los Angeles
Conducted the debut at the Opening Ceremony at the Los Angeles Coliseum
According to Williams, this song represented “the spirit of cooperation, or heroic achievement, all the striving and preparation that go before the events and all the applause that comes after them”
John Williams composed the Olympic Fanfare and Theme for the 1984 Olympic Games in Los Angeles. When commissioned to write this piece, Williams was given some challenges. The opening fanfare was to be played by herald trumpets at all of the events so it had to include sounds these instruments could produce. Another challenge was that the music needed to be able to be broken down into small pieces for the television station to use before and after commercial breaks. Williams said this song represented “the spirit of cooperation, or heroic achievement, all the striving and preparation that go before the events and all the applause that comes after them” (John Williams Web Pages). Williams conducted the debut of the song at the 23rd Olympic opening ceremony on July 28, 1984 at the Los Angeles Coliseum. One hundred and ten trumpets opened Williams’ number. Williams first recorded Olympic Fanfare and Theme with a Los Angeles studio orchestra for the record The Official Music of the 1984 Games. He later recorded the work with the Boston Pops.

17. Listening Guide

18. Star Wars Main Title
0:00 Opens with a fanfare from the brass and percussion. 0:08 The full orchestra enters with the brass instruments staying strong with the main theme of this piece. 0:17 Percussion keeps a strong, even rhythm resulting in a march-like beat. 0:25 The woods have their moment with strings, and play the melody legato which brings a lighter moment in the music. 0:39 The brass and percussion coming in forte. 0:48 The orchestra repeats the theme featured at 0:08. 1:06 Brass continues to play while the other instruments stop. Brass decrescendo. Flutes have small solo. 1:37 Orchestra begins to crescendo with the percussion and brass. 1:45 Brass and percussion play a strong beat, very staccato. Then followed by the rest of the orchestra coming in.
2:06 Brass as the melody leads the way back to the theme. 2:14 The woods and strings then bring a more calm and peaceful part. 2:24 Whole orchestra plays the main theme. 2:41 The strings play the melody again. 2:56 Brass and percussion enter to lead into the chorus. Orchestra plays allegro. Slowly decrescendos. 3:16 Strings have a solo. As the strings crescendo, the brass and percussion entering forte. 3:59 The main theme is repeated and played allegro. 4:20 The brass and percussion fade. The strings again play the theme legato. 4:35 Full orchestra plays together to crescendo into the final part of the music. 4:59 Music softens before increasing tempo and loudness. 5:19 Strong deliberate notes end the piece. The percussion creates a drum roll-like beat, lasting the last thirty seconds of the piece with the brass making the final note together with the full orchestra.
0:00 Opens with a fanfare from the brass and percussion.
0:08 The full orchestra enters with the brass instruments staying strong with the main theme of this piece.
0:17 Percussion keeps a strong, even rhythm resulting in a march-like beat.
0:25 The woods have their moment with strings, and play the melody legato which brings a lighter moment in the music.
0:39 The brass and percussion coming in forte.
0:48 The orchestra repeats the theme featured at 0:08.
1:06 Brass continues to play while the other instruments stop. Brass decrescendo.
1:29 Flutes have small solo.
1:37 Orchestra begins to crescendo with the percussion and brass.
1:45 Brass and percussion play a strong beat, very staccato. Then followed by the rest of the orchestra coming in.
2:06 Brass as the melody leads the way back to the theme.
2:14 The woods and strings then bring a more calm and peaceful part.
2:24 Whole orchestra plays the main theme.
2:41 The strings play the melody again.
2:56 Brass and percussion enter to lead into the chorus. Orchestra plays allegro. Slowly decrescendos.
3:16 Strings have a solo. As the strings crescendo, the brass and percussion entering forte.
3:59 The main theme is repeated and played allegro.
4:20 The brass and percussion fade. The strings again play the theme legato.
4:35 Full orchestra plays together to crescendo into the final part of the music.
4:59 Music softens before increasing tempo and loudness.
5:19 Strong deliberate notes end the piece. The percussion creates a drum roll-like beat, lasting the last thirty seconds of the piece with the brass making the final note together with the full orchestra.

19. Olympic Fanfare and Theme
0:00 Brass fanfare with percussion begin the song with the main theme. 0:45 Trumpet fanfare. Including percussion. All orchestra enters. 1:00 Brass backs off and just a little drumming on the snare drum. 1:07 Strings and snare drum playing together legato. This is followed by small part of brass and woods. 1:37 Strings and low brass and woods play the melody together with high brass chiming in here and there. 1:52 Strings and the low brass play together piano. 2:07 French horns, woods, percussion, and low brass play together followed by high brass entering forte. 2:37 The woodwinds play with percussion. High brass enters again to crescendo into the main theme. 2:54 Trumpets fanfare 3:07 Percussion solo, followed by high brass and entire orchestra, with high brass cresendoing. 3:37 The full orchestra playing the main theme together allegro. 4:00 Strong high brass and percussion and then full orchestra hits final note together and fades away.
0:00 Brass fanfare with percussion begin the song with the main theme.
0:45 Trumpet fanfare. Including percussion. All orchestra enters.
1:00 Brass backs off and just a little drumming on the snare drum.
1:07 Strings and snare drum playing together legato. This is followed by small part of brass and woods.
1:37 Strings and low brass and woods play the melody together with high brass chiming in here and there.
1:52 Strings and the low brass play together piano.
2:07 French horns, woods, percussion, and low brass play together followed by high brass entering forte.
2:37 The woodwinds play with percussion. High brass enters again to crescendo into the main theme.
2:54 Trumpets fanfare
3:07 Percussion solo, followed by high brass and entire orchestra, with high brass cresendoing.
3:37 The full orchestra playing the main theme together allegro.
4:00 Strong high brass and percussion and then full orchestra hits final note together and fades away.

20. The Raiders March
0:00 Trumpets begin with fanfare for Indiana Jones theme with little amount by percussion section. Slight crescendo before full orchestra begins. 0:37 Full orchestra has entered, woods begin melody with the brass and percussion entering together cresendo in the next part of the song. 1:07 The brass and percussion leads to theme, sounding like a march. 1:18 Orchestra repeats theme forte, percussion beats an even tempo. Cymbals enter at peak of theme. 1:37 Strong presence from the brass and percussion play allegro the main part of the march with the strings and woods playing the softer side. This leads into the next part with a decrescendo. 2:07 The woods and strings decrescendo into a softer and peaceful tone and continue this with a strong presence by the French horns. The music gradually goes up and down like a wave. 2:40 Music continues legato with the softness of the woods, strings, and French horns with crescendo and decrescendo. 3:20 The music becomes more forte. The softness begins to fade and the lower brass begins the transition to the main theme with high brass entering. 3:55 Low brass leads into high brass into the main theme. 4:00 The full orchestra enters forte to be playing the melody of the main theme allegro. Strong percussion sets a steady rhythm. 4:35 Strong percussion and high brass continue the theme and full orchestra comes in for to finish strong.
0:00 Trumpets begin with fanfare for Indiana Jones theme with little amount by percussion section. Slight crescendo before full orchestra begins.
0:37 Full orchestra has entered, woods begin melody with the brass and percussion entering together cresendo in the next part of the song.
1:07 The brass and percussion leads to theme, sounding like a march.
1:18 Orchestra repeats theme forte, percussion beats an even tempo. Cymbals enter at peak of theme.
1:37 Strong presence from the brass and percussion play allegro the main part of the march with the strings and woods playing the softer side. This leads into the next part with a decrescendo.
2:07 The woods and strings decrescendo into a softer and peaceful tone and continue this with a strong presence by the French horns. The music gradually goes up and down like a wave.
2:40 Music continues legato with the softness of the woods, strings, and French horns with crescendo and decrescendo.
3:20 The music becomes more forte. The softness begins to fade and the lower brass begins the transition to the main theme with high brass entering.
3:55 Low brass leads into high brass into the main theme.
4:00 The full orchestra enters forte to be playing the melody of the main theme allegro. Strong percussion sets a steady rhythm.
4:35 Strong percussion and high brass continue the theme and full orchestra comes in for to finish strong.

21. References
20 February September < Academy of Motion Picture Arts and Science. The Official Academy Awards Database. n.d. 26 September < History. n.d. 28 September < IMDb. "John Williams." n.d. The Internet Movie Database. 24 September < —. Raiders of the Lost Ark. n.d. 29 September < "IOC awards the Olympic Order to John Williams." 01 May Olympic.org: Official Website of the Olympic Movement. 25 September < Lintgen, Arthur. "Classical Recording: Williams- "Star Wars 30th Anniversary Collector's Edition." Fanfare- The Magazine for Serious Record Collectors March 2008: London Symphony Orchestra. "John Williams- Greatest Hits " cond. John Williamsn. By John Williams "Raiders of the Lost Ark: Editorial Review." 28 December FilmTracks. 28 September < "White House Announces 2009 National Medal of Arts Recipients." 25 February National Endowment for the Arts. 30 September <