John Williams

[Stempel]

Hier ist der Teil des Interviews der sich mit Williams beschäftigt:

 

 

CJ: When did you first meet John Williams?

 

HS:  I must have met him when he was a piano player doing sessions for me.  He was at Universal.  I think he made his pictures there.  Then he came to 20th Century as an occasional composer here.  We hit it off as friends, you know.  I did some pictures with him at 20th Century, some God-awful pictures like A Guide for the Married Man, I mean absolute bombs.  I noticed the quality of his writing.  Very up-town.  Here he gets these lousy pictures and he writes this kind of stuff. But he was just trying to get his nails into something.  But when he did finally get his act together, he had it all.  It was wonderful to see.  Since he never really had a real good picture to work on, you couldn’t really tell what he could do.  You have to have the footage so you can see the man understand the picture and sharing it.  

 

CJ: What was the first picture that he was really able to do his best work on?

 

HS: Well, for me it was The Towering Inferno.  Before that he had done some things at 20th Century, like The Poseidon Adventure, and I noticed him coming into his own. 

 

CJ: How does he compare with the other composers you’ve worked with? Say, for example, the Alfred Newmans, and the George Gershwins?

 

HS: They’re all different.  But you see a good mind working here, and you know that it’s necessary, that there’s a need to do it.  So it makes you feel very relaxed and warm.  This guy knows what they hell he wants to do.  See, you can write very good music, but it has to fit the picture you’re looking at.  You have to have a dramatic feel for what the heck’s going on.  That’s like Alfred Newman.  He very seldom made a mistake.  We used to say that the best composers for movies did not have to be the best composers, but had to be the best for what was going on.  It’s very hard to get good composers, because they have all these ideas about symphonic things instead of concentration on what you have.  The medium is very subtle, and when you get hold of it, you can feel it.  Otherwise you sit there and you think, “It’s too bad this guy’s wasting his time doing this because he’s got one eye shut or something, he’s not getting the idea.”

 

CJ: You think it’s important to be aware of what the filmmaker’s trying to say regardless of how he’s saying it?

 

HS: I think so.  The guy who makes a film is usually the last guy who knows what the hell a film is about.  By this time the film is living a life of its own.  He’s still looking at the script he though he was going to do, and the way he shot it, and all that stuff, but this is something else.  Very seldom do the two jibe.  Some producers are still thinking today that a film is the same they read and thought, “My God, what a wonderful script.” Because the guy who shot it is improvising as he goes along because he’s done the shot before, and the thing takes off by itself.  Not necessarily the way it is on paper.  So the composer had better look at the film, and not read the script.  Or listen to the guy who bought it, because he’s still back at square one.  He’s got something else, now.  You score what you got.  Listen to him politely, but to hell with that, stick to what actually is on. 

 

CJ: So with John Williams

 

HS: Well I noticed right away that he was grabbing the thing.  I said, well he is a full-grown, real composer of films.  He is much more than that, but he has learned what films are about, and he sees them well.  He sees them with continuity.  He doesn’t see them as 30-second things, but he sees the whole damn thing, because the key structures are so well managed.  And you don’t plan these things.  When you are with it, you wander on to these things, because the scene seems to demand it. 

 

CJ: Is there usually a logical progression of key centers to a film?

 

HS: Well, it sounds logical when you see it. I’ve never gone back to compare films, but I suppose you could make a continuum of the whole thing and find out that the guys who do it most successfully do certain things.  It makes a big difference, for example, what key you are playing in.  We used to do a lot of talking at 20th Century.  “How did you like so-and-so’s score?” Well, I liked it, liked the music and all, but it sounded like it had been transposed.  From the key that it should have been in to something else.  Most of the pictures that Paramount seemed to be doing in those days reminded me of something a piano player would do.  Put down how a piano player would do it, in the wrong key, where the strings don’t sing there, they’re playing on the middle strings with the wrong fingers-all the flats. Whereas John is very conscious of where things lay on the strong, tremendously conscious, both of us are. 

 

CJ: Although neither of you are string player yourselves. 

 

HS:  No, but you’ve got to be conscious where a thing lays, where the guys really draw a bow and get something going for you.  Otherwise you get just an “hmm” sound, an organ sound.  He’s very conscious of that. 

 

CJ: How do you both achieve that kind of awareness?

 

HS: Well, we both know the classical repertoire.  The stuff that we learned sounds wonderful, usually lays in the right key.  You put it up half a tone or down, you kill it.  You’d be surprised.  Most of the violinists have been trained so that they know where things lay well for them.  Something that really cooks.  Most of the stuff that he writes is in A, you know, sharp keys. 

CJ: Strings generally do not work as well in flat key?

 

HS: they do… you can use them on purpose in a flat key for an effect.  But when the sun comes out, it better come out in another key.  Because the half-positions in the flat keys-that’s not where the fingers lay.  The flat keys are not as open.  D-sharp and E-flat are in slightly different position with slightly different fingering.  Of course everyone knows that generally, but specifically you notice a difference in the sound.  It’s a little more muted, as little more tentative.  Of course, there are no end of examples of when this can be tremendously successful, but usually we try to keep the hell away from that kind of thing.  The clarinet will have to play in all sharps, but they have to do that anyhow, so they might as well get used to it. 

 

CJ: In the composer-orchestrator relationship, are there differences between how many details a composer will put on a sketch, and how much is left to the orchestrator?

 

HS: John generally makes a very good sketch.  If you look at it carefully, all the information is there, but sometimes there are suggestions back and forth.  “Why don’t we do…” He might buy that and say, “Yes, let’s do it that way.”

 

CJ: So you do get to have input into a project. 

 

HS: Oh yea.  He’ll always play his stuff for me.  Bounce it off of me.  “What do you think?” Sometimes I’ll say, “I like the other thing you played better.” “Why?” You always shave to say why, because he won’t ask for their two bits from just anybody.  You can’t just shrug your shoulders.  We have a good relationship.  And I know the right questions to ask him.  How does he fill about a piece, how much sound is a particular section supposed to have? Not that you wouldn’t know how much sound they have naturally, so that there are no other places to go to, or less to go to.  Is it a solo pictures, for instance, where solo instruments play a lot?  I think Alfred Newman was a solo man.  He was always featuring somebody.  They’d get married to the picture. 

CJ: Thinking of your career in general, what would you say have been some of the highlights, and what have been some of the low points?

 

HS: Well, I must say my last years with John Williams have been the most enjoyable of all, truly.  In the first place, we get out of here, go over to England for three or four months - live like kings.  We write music there, record it there.  Wonderful musicians.  You can tell immediately that they aren’t the lads that we’ve got. 

 

CJ: What would you say are the main differences between the musicians there and the ones here?

 

HS: Well, the best here are almost comparable to what you can get any day there from a good contractor.  A good contractor there can get you a Las Vegas-type band with wonderful brass.  If you hit a chord, all the guys are there.  In other words, they’re all like a first trumpet.  I mean there’s none of that falling off.  They can read anything right off, which is unusual in Europe, because not all orchestras can do that.  I had a big surprise in, of all places, where I thought music had been born, in Rome.  Jesus, I couldn’t believe it.  What a bunch of beasts. 

 

CJ: What other countries have you recorded in?

 

HS: Well, I recorded some in Paris.  Forget it.  The French go across the Channel.  There are five big symphony orchestras in London.  None of them get paid all the time.  The guys belong to it, and they get paid as they make money.  For example, the London Symphony has a series of concerts, but they also have all sorts of jobs where they can get paid.  A good contractor can get you the best orchestra in the world, drawing from these five.  Because one of them is relatively dead.  You hit an A chord, and it’s absolutely glorious, alive, beautiful.  They should be Italians, or something.  No, Scottish.  The Scots are wonderful musicians.  So I have nothing but respect for these guys.  And they pay attention.  The only thing you mustn’t do is bore them-missing cues, and so forth.  They can’t stand a guy who can’t conduct.  Because the guy’s trying to catch the cue in odd bars, you know?  He got this one, he missed the other one, and pretty soon you have to go back and do it all over again.  Pretty soon they get all stoney-eyed, and you won’t get anything out of these guys, because they won’t put up with it.  They’ll play their hearts out for a guy who is as good as they are.  At least they’ll play for John, because Johnny’s a good conductor, see, as well as being a great writer.  What a difference that makes/ 

CJ: How did he learn to become a good conductor?

 

HS: Well, he made up his mind that he was going to learn how to do it. 

 

CJ: Do a lot of composers not do that?

 

HS: Well, don’t forget that Andrew Previn was a very good friend of his.  And, he started thinking about being as clean and precise as possible.  Going on when there are wrong notes, and remembering that in bar 35 there was some wrong note in the back.  And remember, don’t stop.  That will bore them.  The orchestra wants to hear the piece all the way through.  The next time they run it, maybe they’ll fix everything themselves, but if you start interrupting, you never hear them play the whole piece through.  Their minds wander.  So John has learned to do it that way.  He remembers exactly what was necessary over there… “Bar so-and-so, what do you have?” …  Corrects that and starts again.  Now the second time around it should go through almost perfect.  Now, bring the picture on, and see how we’re doing, so he gets the recording guy moving.  In this way you can record a lot of music, with everybody cooperating, and everybody absolutely on.  But when the guys start getting glassy-eyed, you better give them five, or they’ll go to sleep. 

 

CJ: Do you remember a particular cue or piece of music that has surprised him when he’s gotten up on the stand?

 

HS:  Oh no, he looks the scores over.  He can tell exactly how something will sound by looking at it.  If I say, “Well, I did this or that, “he’ll say “Good.” Or “No Good.” No good means he disagrees, always for rational reasons.  None of this “I have to have it my way.” Usually I change something because over here I had this effect, and I can’t get to it without destroying this.  But there are practical things about orchestration.  You get to a place where you say, “This sound has to be exactly what we had over here, and this is being compromised by something we had over here.  We should fix this, not this.”  To fix it on the stage is for the birds.  It would take too long and be too costly.  In fact, you’re better off fixing it during a break or something. 

 

CJ: If you would, please, could you talk a little about the making of the score to Star Wars? Did either of you have any idea it would become so successful?

 

HS: No. Not the least. Never a clue.  We kind of liked it, but we through it was more of a cartoon.  We though the kids would like it, but we never thought people would line up around the block to see it… Everyday forever… Oh no.

 

CJ:  Was that gratifying to you to see something you’d worked on become so wildly popular? 

 

HS: It was very gratifying.  As a matter of fact, I think I went to see it at the theater. 

 

CJ: Do you usually go see your pictures at the theater?

 

HS: Well, usually we get a chance to see it before, but this time we had been in England before the film was assembled.  John had seen it, of course, during the previews, but I hadn’t.  I saw it over here on the corner.  “Son of a ____,” I said.  “That sounds wonderful.”  But I appreciated the music, the way it was laid out.  It takes off from the opening fanfare.  I still remember recording it outside of Compton.  Big hall. Big orchestra.  It was a certain excitement. Lucas was very excited about it.  Leitmotives are used all the way through the score.  It’s the only way you can get through something like that.  We had six horns, all the woodwinds we wanted. 

 

CJ: Do you often get an opportunity to write for whatever you want, like that?

 

HS: Well, with Lucas and Spielberg you always get what you need. 

 

CJ:  What about the other films in the Star Wars series? After the success of the first one, did the tow of you feel that there was any pressure to do as well with the other two?

 

HS: No, we know from the beginning it would be a trilogy.  I like The Empire Strikes Back very much. 

 

CJ: What about E.T.?

 

HS:  That was a joy.  Totally unexpected.  But then all the picture that these young people had done, Lucas and Spielberg, were fresh.  They weren’t all used up.  I guess John felt that same exhilaration, because with bad pictures he drops too.  As with Empire of the Sun. The picture didn’t go anyplace, and the movie didn’t go anyplace. 

 

CJ: What about The Witches of Eastwick?

 

HS: I thought that was great.  You see, the picture was exciting.  It was a naughty, cute picture.  Johnny found the mood to do it.  A composer has to have something pushing him.  You work with the film.  It makes all the difference in the world.  It really does. 

 

CJ: One of my favorite scenes from The Witches of Eastwick was the tennis scene.  Do you remember working on that one?

 

HS: Yes.  It took some bit of doing. 

 

CJ: When you were learning about orchestration, who did you study?

 

HS:  Well, personally, I was with Pietro Floridia, who was an Italian composer in exile from Mussolini.  He got me to buy the piano versions of certain pieces.  He would tell me to take the piano versions, orchestrate them, and then compare that to the original to find out how this stuff was done.  It was slow, tedious work, but I guess it’s the only way to find out how this stuff is done.  Some of the Mozart stuff, for example.  The B-flat Symphony.  He’d give me the piano part, with no strings, and say, “You set the strings.” But above all go to concerts as much as you can.  Listen to ask much music as you can, then buy the scores and remember what you’ve heard.  This is the way it is done.  Little by little you’ll start catching on; slowly, then faster after that.  Then you start hearing devices all the time.  You start hearing settings and subdivisions of those things.  Then finally, you’re pretty sure you’ll hear what you want to hear when you go to the stage and rehearse.  In the beginning, I was so startled by what I heard.  “Did I do that?” But you’ve got to be sure from the downbeat, because to have surprises on the recording stage is no good. Very bad.  After a while when you do it day after day.  See, the best training ground was when you and the orchestra were under contract.  Every day you could hear something you’d written the music for.  You could say, here’s the way it’s written, and here’s the way it sounds.  It finally penetrates the brain.  Slowly, but it does. 

In the old days, people used to learn everything by conducting the pit orchestra in local opera and stage plays.  You’d find out how something was done because the guy playing it was right in front of you.  Rimsky used to say that there were only two kinds of music, the kind that sounded good right away, and the kind that needed rehearsal.  If it needs too much rehearsal, then it’s too expensive and nobody wants to listen to it.   

 

CJ: Who would you say are the best orchestrators to study?

 

HS: Well, among the modern composers, I think you can learn more form the Russians than anybody else. Because they scored everything in Paris anyway.  Of course, the greatest person in the world at orchestrating his own music was Stravinsky.  The Russians seem to incorporate almost anything the French discovered almost immediately.  And they use it well. 

 

CJ:  If you had to name your favorite film of all time, what would you say that would be?

 

HS: Gigi. The musical.

 

CJ: Do you foresee the musical films coming back into popularity any time soon?

 

HS: Not until the talent that writes them gets better.  All the current stuff is just old-style operetta.  Nothing very big, simple tunes, very expressive, classically trained singers, etc.  Even Les Miserables was a miserable show.  Not one tune or piece of melody in the whole thing.  But there wasn’t anything in Jesus Christ Superstar.  And what was the one about the roller skaters? Starlight Express?  I saw the first act and walked out. 

 

CJ: What would you say is your favorite piece of music?

 

HS: Well, I couldn’t say that I have a favorite.  I like the symphonies of Beethoven and Mozart.  I don’t like singers, though.  Especially high German sopranos. 

 

CJ: What was it like working on Empire of the Sun with all the coals in that movie?

 

HS: I didn’t work directly with that.  Just the background stuff.   It was supposed to sound “churchy.”  I’m not great on that stuff.  I find it worthy, but not exciting.  I must say I like the French composers very much. Especially when they’re played well.  Of course, Stravinsky occupies the top rung with me. 

 

CJ: Did you ever get to meet him?

 

HS: No. Almost everyone I know did, but I never got to.  I want to, but he stayed within his own circle of friends.  His ballets.  And, of course, Le Sacre is one of the great works of art.  Of course now, all the symphonies he learned to play it properly.  They play it like a “head” arrangement.  They can almost play it without looking at the music.  When I was with Eddie Powell in New York we went to hear the ballet that came after the war.  We went to hear Petrouchka and I almost rolled over.  I’d never head anything like that before. It was absolutely riveting.  

 

CJ: Are there any composers alive today that you think match that?

 

HS: No. See, he was a hybrid from Russia that went back a thousand years.  And, or course, one of the cleverest men who ever lived.  Particularly in calligraphy.   Have you ever seen any of his sketches?  They were like works of art.  One time they were going to put for sale some of his sketches form Le Sacre and I saw them in a window in London, and I think they cost thirty pounds or something like that.  I didn’t have the money with me, so I went back to the hotel, and tried to come back, but couldn’t, of course, and had to stay with somebody.  I went back a couple days later, and it had been withdrawn.  They’d changed their mind.  “Oh no, it was a mistake.”

 

CJ: Of all the music that you’ve written, and orchestrated, what has been your favorite?

 

HS:  I suppose E.T. Well, in a theater I feel so wonderful about it. 

 

CJ: Did you see that in a theater with a real audience?

 

HS: Yeah, I guess as a whole, I could tell that everything had been done right.  Particularly by Johnny.  He’s such a good man.  One of the nicest guys I’ve ever met.  Thoughtful, simpatico, funny. 

 

CJ: Do you and he keep in close contact?

 

HS:  Yeah.  We go to work a lot of times at an enclave that Spielberg built inside Universal, called Amblin.  It’s just for the music.  A projection room.  A big office for him with a grand piano, an office for me right next to it. A kitchen.  When you work for him, he sends in lunch.  My God, I don’t see royalty treated any better than that.  I used to work at home a lot, but when I work with John I’m usually in the same room.  He’d be working at a piano, and I’d be sitting down, and I could shut him off if I wanted to.  But then when it came time to work on the cue he had been working on, I had already heard it.  See, he always plays it for me exactly in tempo.  He’s a good enough piano player that he doesn’t stumble through it.  The tempo and the intention of the sound.  Everything is right there.  That way everything keeps moving. 

 

CJ: What are you views on synthesizers and electronics?

 

HS:  Well, I guess that the films I do with John are some of the few that are done with a real orchestra.  Synthesizers are effective if you write them precisely.  I think they are their own genius.  I think the future will be more or less like the Hammond organ in the old movie theaters.  The orchestra would play and then the organ would substitute, but we always wanted to hear the orchestra.  They don’t have the expression of the orchestra, but here and there they do a good job imitating the orchestra.  I don’t think they should imitate the orchestra.  I think some talented boys will develop something that uses tones differently.  The problem is that it always sounds as though somebody had their fingers all over, fiddling with the notes.  Good music is not that way.  I think it’s in its infancy. 

 

CJ: Where o you see film music going?

 

HS: Somebody will have to provide music for it, always.  Films are part and parcel of our society.  There will always be good filmmakers and bad ones.  And they’ll always want music.  There will be more opportunities for people who are very well trained to do this, and there will be a terrific burden for doing everything marvelously very fast, which is a lot to ask.  I’ve noticed that in the United States there is always plenty of talent.  In companies like Disney, for example, [Walt] Disney hired people, not form conservatories, but he used to go around and find out who was playing piano or organ for his pictures that he thought was funny.  That’s the way he got them.  It was pure talent that he wanted.  The good guys will make it.  The clever ones will make it first, but the good guys will always find a spot.  But you have to learn to wait sometimes, because it is very difficult. 

 

CJ: If you had any advice to somebody just starting, what would it be?

 

HS: See everybody’s stuff.  Find out for yourself, “Why is this good? Why is this popular?” find the reasons people like things. 

 

CJ: What are some upcoming projects for you?

 

HS: Well, John called me up the other day and said that Indiana Jones and the Last Crusade was coming up.  “Do as much as you want to do.” I don’t have the strength to do the whole picture like that.  So I figure “Sure, it will get me out of the house.”

 

 

 

Bearbeitet 18. Februar 2014 von Souchak
Zitate, bittebittebitte, in den Kasten! Dankeschön.

[BVBFan]

Hab gestern gehört das Williams die letzten Harry Potter Teile gern vertont hätte, aber nicht gefragt oder sogar abgelehnt (?) wurde...

 

War das so?

 

Ich konntes gar nicht glauben...

[Nick M.]

Hab gestern gehört das Williams die letzten Harry Potter Teile gern vertont hätte, aber nicht gefragt oder sogar abgelehnt (?) wurde...

 

War das so?

 

Ich konntes gar nicht glauben...

 

In der Wikipedia steht Folgendes:

 

"Williams was asked to return to score the film franchise's final installment, Harry Potter and the Deathly Hallows – Part 2, but director David Yates stated that "their schedules simply did not align" as he would have had to provide Williams with a rough cut of the film sooner than was possible."

[Siddl]

Das Interview mit Herb Spencer ist sehr erfrischend! Jemand, der sagt, was er denkt (die Stelle mit den Franzosen - grandios ). Mehr als die Dinge, die Williams betreffen, beeindruckt mich, wie er Fakten über Orchestration mit einbringt z.B. die Streicher, die in flats oder sharps spielen. Sehr schöner Fund!

[Stempel]

Sehr gute Interpretation!

 

[Stempel]

Williams erhält den nächsten Staubfänger:

http://www.colonnesonore.net/news/premi-e-concorsi/2971-colonnesonorenet-awards-2013-winners-announced.html

Wie sagte Herbert Feuerstein letztens so schön?

"Die Putzfrau im Hause Williams ist nicht zu beneiden." :-)

[Stempel]

[Stempel]

https://www.youtube.com/watch?v=ykcoEZ-qzWI

[Stempel]

"Gloria" aus MONSIGNOR hielt ich eigentlich immer für ein traditionelles Kirchenlied das von Williams lediglich bearbeitet wurde.

Dachte also, es wäre keine Original-Komposition.

 

Jetzt bin ich mir nicht mehr sicher.

 

Was meint ihr?

[Stempel]

Am 12. Juni erscheint ein englisches Buch über ihn.

http://www.amazon.com/gp/aw/d/0299297349/ref=redir_mdp_mobile

[Stempel]

Am 12. Juni erscheint ein englisches Buch über ihn.

http://www.amazon.com/gp/aw/d/0299297349/ref=redir_mdp_mobile

Ebenfalls am 12. Juni gibt das "National Brass Ensemble" (ein Orchester welches sich aus den besten Bläsern der wichtigsten US-Symphonie Orchester zusammensetzt) ein Konzert in Kalifornien.

Zu diesem Anlass ist John Williams beauftragt worden eine neue Fanfare zu komponieren!

[Souchak]

Was ist ein "Symphony Orchester"?

[Csongor]

zB Boston Symphony Orchestra, Chicago Symphony Orchestra

[Souchak]

zB Boston Symphony Orchestra, Chicago Symphony Orchestra

 

Ahhhsoo, Denglisch. Ist Martin die männliche Gayle Tufts?

[Stempel]

 

This tape is of Buddy Rich performing the West Side Story Medley in 1981 with John Williams and the Boston Pops. This digital recording was created from an original tape of the performance given by Buddy Rich to his student Brian Choper in 1983 (his student from 1981-83). Note that unlike other versions of this performance found on the web (which are from TV broadcasts) this recording includes a non-broadcast sequence at the beginning of Rich playing solo with bass player Wayne Pedzwater ( the bass player for Blood Sweat and Tears who tragically passed away in 2005).

 

Bearbeitet 25. April 2014 von Souchak
grrr.

[Stempel]

Ein kleines Quiz über Williams:

http://www.funtrivia.com/trivia-quiz/Music/Film-Composer-John-Williams-Trivia-70131.html

 

Ich hatte 13 von 15 richtig.

[Stempel]

Wozu Filmmusik?

 

Darum:

 

[Stempel]

Habe heute bei JWFAN.com erfahren das es wohl LP-Versionen von HOME ALONE sowie JFK gegeben haben soll!

Das ist mir völlig neu. Hat hier jemand Infos darüber?

Falls die einer hat und loswerden möchte: Stempel kauft!

 

(M SQUAD und THE REIVERS übrigens auch.)

[Alexander Grodzinski]

Zumindest hier werden wohl beide angeboten:

http://www.discogs.com/marketplace?release_id=5176167&ev=rb

http://www.discogs.com/buy/Vinyl/John-Williams-JFK-Original-Motion-Picture-Soundtrack/151744480?ev=bp_rel_det

 

Auch THE REIVERS:

http://www.discogs.com/marketplace?release_id=4338880&ev=rb

 

Und auch M SQUAD (falls das die richtige ist):

http://www.discogs.com/marketplace?release_id=2525100&ev=rb

[Stempel]

Vielen Dank!

 

Home Alone als Süd-Koreanische Pressung! Wie die wohl klingt?

JFK ist eine deutsche Pressung! Komisch das mir die noch nie untergekommen ist.

 

Hat jemand Erfahrung mit bestellen von dieser Seite?

Ist das ähnlich wie Ebay?

 

M Squad ist richtig.

Bearbeitet 3. Mai 2014 von Stempel

[Stempel]

Cover, Inhaltsverzeichnis und Leseprobe des im Juni erscheinenden Buches über Williams:

 

http://www.amazon.com/John-Williamss-Film-Music-Classical/dp/0299297349/jwfancom-20

[Sebastian Schwittay]

Hm, der wissenschaftliche Erkenntnisgewinn dürfte sich da wohl in Grenzen halten. Bücher über die spätromantische Filmmusiktradition gibt es mittlerweile wirklich zuhauf. Die Inhaltsangabe liest sich auch sehr nach Grundlagen-Abarbeitung.

 

Eine Untersuchung über die Rolle und den Einfluss des Jazz auf Williams' Schaffen (auch auf die sinfonischen Filmmusiken!) wäre da zum Beispiel ein lohnenderes Thema gewesen.

[Stempel]

 

 

Eine Untersuchung über die Rolle und den Einfluss des Jazz auf Williams' Schaffen (auch auf die sinfonischen Filmmusiken!) wäre da zum Beispiel ein lohnenderes Thema gewesen.

 

Ja, das würde mich auch interessieren.

[gargamel]

Sorry wenn ich von dem Einfluss des Jazz auf Williams Wirken mal auf eine ganz profane Sache komme...

 

Was hat es eigentlich mit dem dunklen Rollkragenpullover auf sich??? ;-)

 

Ne ich meine das wirklich ernst: seit den 1970'ern gibt es kaum ein Bild auf dem er nicht einen schwarzen Rolli trägt. Ist das für ihn evtl. so eine Art Glücksbringer oder gibt's gar gesundheitliche Gründe dafür?

 

Ich hab dazu im Netz so nichts finden können und mir ist auch klar, dass es GARANTIERT wichtigeres gibt, aber interessierten tut es mich trotzdem! 

[TheRealNeo]

Findet er vielleicht einfach fesch.