MA: Which is one of the things, I think, that is remarkable, having done some recording with John. It was something quite miraculous about the experience, all of it. WILLIAMS: I can only hope that it rose to the level that it needed to for such a really brilliant film. You're writing about the most awful thing ever, and the music - there's still a melody in there. KELLY: That's the thing - is that it is so accessible. WILLIAMS: These simple notes, this very accessible tune. But in the film, I - well, it's a challenge with every film in the sense that we really have to make the assumption that people are going to hear this only once during the two hours of the film and that that is their musical experience and probably need to find some expression that is very direct and very honest. WILLIAMS: Well, of course, the Holocaust is certainly beyond me. And, Yo-Yo, to you the question of how do you play that and try to express that? KELLY: And I have a question to each of you about that and the challenge of writing music to try to capture the Holocaust in due justice and respect. (SOUNDBITE OF JOHN WILLIAMS' "THEME FROM SCHINDLER'S LIST") These are big, weighty historical dramas, including "Schindler's List." KELLY: So this is interesting because, if we look at some of the other music presented here, the film music, this is not the big, triumphant sci-fi movies that a lot of people know you for, John. MA: John has a great capacity to make me blush. I've never heard cello playing like this. WILLIAMS: I don't think anyone has ever played the cello this way. But I became more interested in it as I heard Yo-Yo play it as it then was and began to make some revisions over the years, which we did together and performed it again here and there. WILLIAMS: The first performance of it was in 1993, and I think it went pretty well. He's in a register that is probably unheard of in the cello repertoire. KELLY: When we say you wrote it for Yo-Yo to play, was there something, John, that you could hear him doing with it that you weren't sure another cellist would do? (SOUNDBITE OF YO-YO MA PERFORMANCE OF JOHN WILLIAMS' "CONCERTO FOR CELLO AND ORCHESTRA") MA: And when you wrote the concerto, John, I remember we spent many a day talking about the piece but having conversations. It highlights some of his film scores as well as works Williams wrote specifically for his friend, like his "Concerto For Cello And Orchestra." KELLY: Their new album together is called "A Gathering Of Friends," released just after John Williams' 90th birthday. WILLIAMS: We began to be friendly and share a meal here and there and formed a friendship which is one of the treasures of my life, certainly.
Williams was conductor of the Boston Pops, and Ma was a rising star soloist. KELLY: John Williams and Yo-Yo Ma first met about 40 years ago.
MA: Well, there's a cello attached to me. WILLIAMS: Angel, we need a cello here today. And over the years, he has also developed many friendships with the musicians he works with, including cellist Yo-Yo Ma. (SOUNDBITE OF JOHN WILLIAMS' "HEDWIG'S THEME") (SOUNDBITE OF JOHN WILLIAMS' "MAIN TITLE (THEME FROM JAWS)") Like the theme to "Star Wars" and "Jaws". (SOUNDBITE OF JOHN WILLIAMS' "STAR WARS (MAIN TITLE)")
#Revisions marquette movie#
John Williams has written so many of the movie scores that have gotten stuck in your head over the years.
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