Movie Music And Classical Magic

I have written before about how "classical" music—and particularly the lush, late 19th century strain of Romanticism—did not entirely disappear when dissonant Modernism took over the "high-brow" music world. Classical music merely went into hiding, in the form of film scores. Though it is a more limited genre—since it is secondary to the action on screen—the movie soundtrack has served as a special preserve for the pleasing melodies and lush orchestration associated with Romanticism.

This fact is captured in the New York Sun review, below, of an "informal" opening concert of the New York Philharmonic featuring film music conducted (and mostly composed) by John Williams, whom Jay Nordlinger describes—surprisingly and correctly—as "probably the most popular composer of classical music in the country." And I can guarantee you that know—and can hum—much of his work.

"The Magic of Movie Music," Jay Nordlinger, New York Sun, September 17 The New York Philharmonic formally opens its 2007–08 season tomorrow night, with a gala concert featuring Yo-Yo Ma. But the orchestra had an informal opening on Friday night, when John Williams led them in a program of movie music. The program was repeated on Saturday and Sunday nights (and I attended the middle concert)….

When Mr. Williams took the stage on Saturday night, he was greeted by thunderous, almost shocking applause; and it occurred to me that he is probably the most popular composer of classical music in the country. (And let us not define classical music too narrowly.) Who else approaches him, really?...

And his music tends to be optimistic, broad, reassuring. He has no one style, of course, because a film composer has to be a chameleon, perhaps above all composers. But there is still a familiar Williams strain.

He and the Philharmonic opened their program with "Sound the Bells!" written for a Japanese royal wedding in 1993. The playing was bright and belly—maybe overly bright. Then we heard "Flight to Neverland" from the movie "Hook." This is some of that flying music in which Mr. Williams specializes (think E.T. on a bicycle). He really knows how to put movement in music, making it soaring, wide-eyed, and rhapsodic….

Then we had a suite from the "Harry Potter" movies (which reminds me to ask: How rich do you think John Williams is?). "Hedwig's Theme" is the picture—the aural picture—of magic and wizardry. That, indeed, is movie music….

Two years ago, Mr. Williams wrote the music for "Memoirs of a Geisha," and from that score we heard "Sayuri's Theme."… Then Mr. Williams closed the printed program with a medley of music from his George Lucas and Steven Spielberg movies. Images from those movies appeared onscreen. One by one they came—"Jaws," "Star Wars," "Raiders," "E.T."—and the audience roared with each one. This was an act of communal memory. Mr. Williams is an important figure in contemporary American culture—and, of course, Messrs. Lucas and Spielberg aren't unimportant either.