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+ "page_snippet": "John Williams - Awards - IMDb - Awards, nominations, and winsFor his work in scoring the Star Wars film series.",
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+ "page_name": "John Williams - Wikipedia",
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+ "page_snippet": "In 2020, Williams won the Grammy Award for "Best Instrumental Composition" for composing Star Wars: Galaxy's Edge Symphonic Suite, and he received his 52nd Oscar nomination for "Best Original Score" at the 92nd Academy Awards for Star Wars: The Rise of Skywalker.He told Spielberg, \"I really think you need a better composer than I am for this film.\" Spielberg replied, \"I know, but they're all dead.\" Williams asked classical violinist Itzhak Perlman to play the main theme for the film. Williams garnered his fourth Oscar for Best Original Score, his fifth overall. In 2011, after a three-year hiatus from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin and War Horse. The former was his first score for an animated film, and he employed various styles, including \"1920s, 1930s European jazz\" for the opening credits and \"pirate music\" for the maritime battles. Both scores received overwhelmingly positive reviews and earned Academy Award nominations, the latter also being nominated for a Golden Globe. The Oscar nominations were Williams's 46th and 47th, making him the most nominated musician in Academy Award history (having previously been tied with Alfred Newman's 45 nominations), and the second most nominated overall, behind Walt Disney. In 2020, Williams won the Grammy Award for \"Best Instrumental Composition\" for composing Star Wars: Galaxy's Edge Symphonic Suite, and he received his 52nd Oscar nomination for \"Best Original Score\" at the 92nd Academy Awards for Star Wars: The Rise of Skywalker. He is best known for his collaborations with Steven Spielberg and George Lucas and has received numerous accolades including 26 Grammy Awards, five Academy Awards, seven BAFTA Awards, three Emmy Awards and four Golden Globe Awards. With 54 Academy Award nominations, he is the second-most nominated person, after Walt Disney, and is the oldest Oscar nominee in any category, at 91 years old. Williams's early work as a film composer includes Valley of the Dolls (1967), Goodbye, Mr. With 54 Academy Award nominations, he is the second-most nominated person, after Walt Disney, and is the oldest Oscar nominee in any category, at 91 years old. Williams's early work as a film composer includes Valley of the Dolls (1967), Goodbye, Mr. Chips (1969), Images (1972) and The Long Goodbye (1973). He has collaborated with Spielberg since The Sugarland Express (1974), composing music for all but five of his feature films.",
+ "page_result": "\n\n\n\nJohn Williams - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
John Towner Williams was born in Flushing, Queens, New York City, to Esther (n\u00e9e Towner) and Johnny Williams,[16] a jazz drummer and percussionist who played with the Raymond Scott Quintet. He has an older sister, Joan,[17][18] and two younger brothers, Jerry and Don, who play on his film scores.[19] Williams said of his lineage: \"My father was a Maine man\u2014we were very close. My mother was from Boston. My father's parents ran a department store in Bangor, Maine, and my mother's father was a cabinetmaker.\"[20] Johnny Williams collaborated with Bernard Herrmann, and his son sometimes joined him in rehearsals.[21]\n
In 1955, following his Air Force service, Williams moved to New York City and entered Juilliard, where he studied piano with Rosina Lh\u00e9vinne.[22] He was originally set on becoming a concert pianist, but after hearing contemporary pianists like John Browning and Van Cliburn perform, he switched his focus to composition.[29] \"It became clear,\" he recalled, \"that I could write better than I could play.\" During this time Williams worked as a pianist in many of the city's jazz clubs.\n
Known as Johnny Williams during this period, he released several jazz albums under this name, including World on a String and The John Towner Touch.[32] Williams also served as music arranger and bandleader for a series of popular music albums with the singers Ray Vasquez and Frankie Laine.[33][34]\n
\nWilliams at the Boston Symphony Hall after conducting the Boston Pops, May 2006\n
While fluent in many 20th-century musical languages, Williams's most familiar style is neoromanticism.[35] Williams's score for Star Wars is often described as Wagnerian as it makes use of the leitmotif, a musical phrase associated with a place, character or idea.[36] Williams downplays the influence of Wagner: \"People say they hear Wagner in Star Wars, and I can only think, It's not because I put it there. Now, of course, I know that Wagner had a great influence on Korngold and all the early Hollywood composers. Wagner lives with us here\u2014you can't escape it. I have been in the big river swimming with all of them.\"[37] \n
Williams called William Wyler's How to Steal a Million (1966) \"the first film I ever did for a major, super-talent director\". Williams received his first Oscar nomination for his score for Valley of the Dolls (1967) and was nominated again for Goodbye, Mr. Chips (1969). His first Oscar was for Scoring: Adaptation and Original Song Score, for Fiddler on the Roof (1971). He scored Robert Altman's psychological thriller Images (1972) and his neo-noirThe Long Goodbye (1973), based on the novel of the same name by Raymond Chandler. Pauline Kael wrote that \"Altman does variations on Chandler's theme the way the John Williams score does variations the title song, which is tender in one scene, a funeral dirge in another. Williams' music is a parody of the movies' frequent overuse of a theme, and a demonstration of how adaptable a theme can be.\"[41] Altman, known for giving actors free rein, had a similar approach to Williams, telling him \"Do whatever you want. Do something you haven't done before.\"[42] His prominence grew in the early 1970s thanks to his work for Irwin Allen's disaster films; he scored The Poseidon Adventure (1972), The Towering Inferno and Earthquake (both 1974). Williams named his Images score as a favorite; he recalls \"the score used all kinds of effects for piano, percussion, and strings. It had a debt to Var\u00e8se, whose music enormously interested me. If I had never written film scores, if I had proceeded writing concert music, it might have been in this vein. I think I would have enjoyed it. I might even have been fairly good at it. But my path didn't go that way.\"[37] As it happened, two of Williams's early scores, for The Reivers (1969) and The Cowboys (1972), would end up shaping the direction his career would go.\n
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1974\u2013present: Collaborations with Steven Spielberg[edit]
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Williams's scores for The Reivers and The Cowboys impressed a young Steven Spielberg, who was getting ready to direct his feature debut, The Sugarland Express (1974) and requested the composer for The Reivers. Williams recalled, \"I met what looked to be this seventeen-year-old kid, this very sweet boy, who knew more about film music than I did\u2014every Max Steiner and Dimitri Tiomkin score. We had a meeting in a fancy Beverly Hills restaurant, arranged by executives. It was very cute\u2014you had the feeling Steven had never been in a restaurant like that before. It was like having lunch with a teen-age kid, but a brilliant one.\"[37] They reunited a year later for Jaws. Spielberg used Williams's theme for Images as a temp track while editing Jaws. When Williams played his main theme for Jaws, based on the alteration of two notes, Spielberg initially thought it was a joke. Williams explained that \"the sophisticated approach you would like me to take isn't the approach you took with the film I just experienced.\" After hearing variations on the theme, Spielberg agreed: \"sometimes the best ideas are the most simple ones.\"[43] The score earned Williams his second Academy Award, his first for Best Original Score.[44] Its ominous two-note ostinato has become a shorthand for approaching danger.[45] Williams's score is more complex than the two-note theme; it contains echoes of Debussy's La Mer and Stravinsky's The Rite of Spring.[46] Shortly thereafter, Spielberg and Williams began a two-year collaboration on Close Encounters of the Third Kind. They crafted the distinctive five-note motif that functions both in the score and in the story as the communications signal of the film's extraterrestrials. Darryn King writes that \"One moment in that film captures some of Spielberg and Williams's alchemy: the musical dialogue between the humans and the otherworldly visitors, itself an artistic collaboration of sorts.\" Pauline Kael wrote of the scene: \"the earthlings are ready with a console, and they greet the great craft with an oboe solo variation on the five-note theme; the craft answers in deep, tuba tones. The dialogue becomes blissfully garrulous ... there is a conversational duet: the music of the spheres.\"[47] Williams says the first three notes of the theme are resolved, making the next two surprising, adding \"I realized that 20 years after the fact.\"[42]\n
Williams scored Alfred Hitchcock's final film, Family Plot (1976). Hitchcock told him to remember one thing: \"Murder can be fun.\" He tipped his hat to Hitchcock's frequent composer, Bernard Herrmann, and Hitchcock was pleased with the result. He scored Brian de Palma's The Fury (1978). Kael called Williams \"a major collaborator\" on the film, writing that he had \"composed what may be as apt and delicately varied a score as any horror movie has ever had. He scares us without banshee melodramatics. He sets the mood under the opening titles: otherworldly, seductively frightening. The music cues us in.\"[48] Williams scored Richard Donner's Superman (1978). Donner reportedly interrupted the demo premiere of the opening title by running onto the soundstage, exclaiming, \"The music actually says 'Superman'!\"[49] King writes that \"Donner had a theory that the three-note motif in the main theme\u2014the one that makes you want to punch the air in triumph\u2014is a musical evocation of 'SU-per-MAN!'\". When asked if there was anything to that, Williams replied \"There's everything to that.\"[42] The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, \"Can You Read My Mind?\", appeared in the four sequel films. \n
Spielberg chose Williams to score Raiders of the Lost Ark (1981), from a story by George Lucas and Philip Kaufman. Williams wrote a rousing main theme, \"The Raiders March\", for the film's hero, Indiana Jones, and separate themes to represent the eponymous Ark of the Covenant, Jones's love interest Marion Ravenwood, and the film's Nazi villains. Additional themes were featured in his scores for Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), Indiana Jones and the Kingdom of the Crystal Skull (2008) and Indiana Jones and the Dial of Destiny (2023). Spielberg emphasized the importance of Williams's score to the Indiana Jones pictures: \"Jones did not perish, but listened carefully to the Raiders 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.\"[50] Williams's soaring score for Spielberg's E.T. the Extra-Terrestrial (1982) won him a fourth Oscar.[44] Spielberg liked Williams's music for the climactic chase so much that he edited the film to match the music.[51] \n
\nJohn Williams conducting the score to Raiders of the Lost Ark in the Avery Fisher Hall in 2007\n
The Spielberg-Williams collaboration resumed in 1987 with Empire of the Sun. In his Oscar-nominated score for Lawrence Kasdan's The Accidental Tourist (1988),[52] Williams developed the two main theme sections in different ways, turning the mood lighter or darker through orchestration and an unexpected use of synthesizers.[53]Schindler's List (1993) proved to be a challenge for Williams; after viewing the rough cut with Spielberg, he was so overcome with emotion that he was hesitant to score the film. He told Spielberg, \"I really think you need a better composer than I am for this film.\" Spielberg replied, \"I know, but they're all dead.\"[54] Williams asked classical violinist Itzhak Perlman to play the main theme for the film. Williams garnered his fourth Oscar for Best Original Score, his fifth overall.\n
Williams scored Spielberg's A.I. Artificial Intelligence, based on an unfinished project Stanley Kubrick asked Spielberg to direct. A. O. Scott argued that the movie represented new directions for director and composer, writing that Spielberg created \"a mood as layered, dissonant and strange as John Williams's unusually restrained, modernist score\".[55] Williams wrote a jazzy score for Spielberg's Catch Me If You Can (2002), which allowed him to tip his hat to Henry Mancini.[56] His score for Spielberg's War of the Worlds allowed him to tip his hat to the scores for classic monster movies.\n
In 2011, after a three-year hiatus from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin and War Horse. The former was his first score for an animated film, and he employed various styles, including \"1920s, 1930s European jazz\" for the opening credits and \"pirate music\" for the maritime battles. Both scores received overwhelmingly positive reviews[57][58][59][60][61][62] and earned Academy Award nominations,[63] the latter also being nominated for a Golden Globe.[64] The Oscar nominations were Williams's 46th and 47th, making him the most nominated musician in Academy Award history (having previously been tied with Alfred Newman's 45 nominations), and the second most nominated overall, behind Walt Disney. Williams won an Annie Award for his score for Tintin. In 2012, he scored Spielberg's Lincoln, for which he received his 48th Academy Award nomination.[65] He was also set to write the score for Bridge of Spies that year, which would have been his 27th collaboration with Spielberg,[66] but in March 2015 it was announced that Thomas Newman would score it instead, as Williams's schedule was interrupted by a minor health issue.[67] This was the first Spielberg film since The Color Purple (1985) not scored by Williams.[68] Williams composed the scores for Spielberg's fantasy The BFG and his drama The Post (2017).[69] \n
In 2019, Williams served as music consultant for Spielberg's West Side Story (2021).[70][71] Williams scored Spielberg's semiautobiographical The Fabelmans (2022).[72] In June 2022, Williams announced that Indiana Jones and the Dial of Destiny, scheduled for a 2023 release, would likely be his last film score as he plans to retire from film and focus on composing concert music.[73][2] However, he reversed this decision by January 2023, stating that he had at least \"10 more years to go. I'll stick around for a while!\". He compared the decision to Spielberg's father Arnold, who had worked in his field until he was 100.[13]\n
In 1985, NBC commissioned Williams to compose a television news music package for various network news spots. The package, which Williams named \"The Mission\", consists of four movements, two of which are still used heavily by NBC today for Today, NBC Nightly News, and Meet the Press.[75] \n
In 1999, Lucas launched the first of three prequels to the original Star Wars trilogy. Williams was asked to score all three, starting with The Phantom Menace. Along with themes from the previous films, Williams created new themes for 2002's Attack of the Clones and 2005's Revenge of the Sith. Most notable of these was \"Duel of the Fates\", an aggressive choral composition in the style of Verdi'sRequiem,[76][user-generated source?] using harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. It used vocal melodies instead of his usual compositions using brass instruments. Also of note was \"Anakin's Theme\", which begins as an innocent childlike melody and morphs insidiously into a quote of the sinister \"Imperial March\". For Episode II Williams composed \"Across the Stars\", a love theme for Padm\u00e9 Amidala and Anakin Skywalker (mirroring the love theme composed for The Empire Strikes Back).[77][78] The final installment combined many of the themes created for the series' previous films, including \"The Emperor's Theme\", \"The Imperial March\", \"Across the Stars\", \"Duel of the Fates\", \"The Force Theme\", \"Rebel Fanfare\", \"Luke's Theme\", and \"Princess Leia's Theme\", as well as new themes for General Grievous and the film's climax, titled \"Battle of the Heroes\".[79] \n
Williams scored the first three film adaptations of J. K. Rowling's Harry Potter series. The most important theme from Williams's scores for the Harry Potter films, \"Hedwig's Theme\", was also used in the fourth through eighth films. Like the main themes from Jaws, Star Wars, Superman, and Indiana Jones, fans have come to identify the Harry Potter films with Williams's themes. Williams was asked to return to score the film franchise's final installment, Harry Potter and the Deathly Hallows \u2013 Part 2, but director David Yates said 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.[80]\n
In 2013, Williams expressed interest in working on the Star Wars sequel trilogy, saying: \"Now we're hearing of a new set of movies coming in 2015, 2016 ... so I need to make sure I'm still ready to go in a few years for what I hope would be continued work with George.\"[81] He also scored the 2013 film The Book Thief,[82] his first collaboration with a director other than Spielberg since 2005. The score earned him an Academy Award, Golden Globe and BAFTA nominations and a Grammy Award for Best Instrumental Composition. It was his 44th nomination for Best Original Score (and 49th overall), setting a new record for the most nominations in that category (he tied Alfred Newman's record of 43 nominations in 2013).[44][83] In 2015, Williams scored Star Wars: The Force Awakens, earning him his 50th Academy Award nomination.[84][85] In 2017, Williams scored the animated short film Dear Basketball, directed by Glen Keane and based on a poem by Kobe Bryant.[86][87] He also wrote the music for Star Wars: The Last Jedi,[88] the eighth episode of the saga. Williams contributed \"The Adventures of Han\" and several additional demos for the 2018 standalone Star Wars film Solo: A Star Wars Story, while John Powell wrote the film's original score and adapted Williams's music.[89][90][91]\n
In March 2018, Williams announced that following Star Wars: The Rise of Skywalker (2019), he would retire from composing music for the Star Wars franchise: \"We know J. J. Abrams is preparing one Star Wars movie now that I will hopefully do next year for him. I look forward to it. It will round out a series of nine, that will be quite enough for me.\"[92] Williams makes a cameo in the film as Oma Tres, a Kijimi bartender.[93] In July 2018, Williams composed the main musical theme for Disneyland and Disney's Hollywood Studios theme park attraction Star Wars: Galaxy's Edge. William Ross, who conducted the symphonic recording of the theme with the London Symphony Orchestra on Williams's behalf, additionally arranged Williams's original composition in different musical contexts for use, recording nearly an hour of musical material at Abbey Road Studios in November 2018.[94][95] Williams won the Grammy Award for Best Instrumental Composition for his Star Wars: Galaxy's Edge Symphonic Suite. He also composed the theme music for the Star Wars miniseries Obi-Wan Kenobi.[96]\n
From 1980 to 1993, Williams served as the Boston Pops Orchestra's principal conductor, succeeding Arthur Fiedler. Williams never met Fiedler in person but spoke to him by telephone. His arrival as the Pops' new leader in the spring of 1980 allowed him to devote part of the Pops' first PBS broadcast of the season to presenting his new compositions for The Empire Strikes Back.[97] Williams almost ended his tenure with the Pops in 1984[98] when some players hissed while sight-reading a new Williams composition in rehearsal; Williams abruptly left the session and tendered his resignation. He initially cited mounting conflicts with his film composing schedule but later admitted a perceived lack of discipline in, and respect from, the Pops' ranks, culminating in this latest instance. After entreaties by the management and personal apologies from the musicians, Williams withdrew his resignation and continued as principal conductor for nine more years.[99] In 1995, he was succeeded by Keith Lockhart, the former associate conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra.[100] Williams is now the Pops' laureate conductor, thus maintaining his affiliation with its parent Boston Symphony Orchestra. Williams leads the Pops on several occasions each year, particularly during their Holiday Pops season and typically for a week of concerts in May. He conducts an annual Film Night at both Boston Symphony Hall and Tanglewood, where he frequently enlists the Tanglewood Festival Chorus.[101]\n
Williams has written many concert pieces, including a symphony; a concerto for horn written for Dale Clevenger, the Chicago Symphony Orchestra's principal horn; a concerto for clarinet written for Michele Zukovsky, the Los Angeles Philharmonic's principal clarinetist, in 1991;[102] a sinfonietta for wind ensemble; a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra; and a trumpet concerto, which was premiered by The Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996.[103] His bassoon concerto, The Five Sacred Trees, which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra.\n
Williams composed the Liberty Fanfare for the Statue of Liberty's rededication; \"We're Lookin' Good!\" for the Special Olympics in celebration of the 1987 International Summer Games; and themes for the 1984, 1988, 1996, and 2002 Olympic Games. One of his concert works, Seven for Luck, for soprano and orchestra, is a seven-piece song cycle based on the texts of former U.S. poet laureate Rita Dove. It had its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.[103]\n
In February 2004, April 2006, and September 2007, Williams conducted the New York Philharmonic at Avery Fisher Hall in New York City. The initial program was intended to be a one-time special event, and featured Williams's medley of Oscar-winning film scores first performed at the previous year's Academy Awards.[106] Its unprecedented popularity led to two concerts in 2006, fundraising gala events featuring personal recollections by Martin Scorsese and Steven Spielberg.[107][108] Continued demand fueled three more concerts in 2007, which all sold out. These featured a tribute to the musicals of Stanley Donen and served as the New York Philharmonic season's opening event.[109][110] After a three-season absence, Williams conducted the Philharmonic once again in October 2011.[111]\n
\nStanley Donen (left) and Williams at Avery Fisher Hall in 2007\n
After over a ten year break, Williams returned to New York in 2022 to conduct the Philadelphia Orchestra for a benefit concert at Carnegie Hall, with special guest violinist Anne-Sophie Mutter.[112] The next year, he was feted at a gala at David Geffen Hall by Spielberg, celebrating their nearly fifty-year collaboration.[113] In 2024, he is set to return to headline another gala at Carnegie Hall with the Philadelphia Orchestra, this time with Yo-Yo Ma as his special guest.[114]\n
\nJohn Williams conducting the Boston Pops in May 2018\n
Anne-Sophie Mutter, introduced to Williams by their mutual friend Andr\u00e9 Previn, collaborated with Williams on an album, Across the Stars, on which Mutter played themes and pieces from Williams's film scores in his new arrangements for violin. It was released in August 2019.[117] The Vienna Philharmonic Orchestra invited Williams to lead concerts in January 2020, his first engagement with a European orchestra,[118] for an all-Williams concert featuring Mutter as soloist. The concert included many pieces from Across the Stars. The resulting concert album, John Williams in Vienna, became the bestselling orchestral album of 2020, reaching the top 10 in many countries and topping the U.S. and UK classical charts.[119] The orchestra also commissioned a new procedural from Williams for their annual Philharmonikerball,[120] replacing the 1924 fanfare by Richard Strauss. \n
Williams conducted the Berlin Philharmonic from October 14\u201316, 2021, marking his second engagement with a European orchestra and his first with the Berlin Philharmonic.[121] In 2022, in celebration of his 90th birthday, Williams conducted the Vienna Philharmonic in March, and was honored on August 20 with a tribute at Tanglewood.[122] The tribute at Tanglewood featured James Taylor, Yo-Yo Ma, and Branford Marsalis. The Boston Symphony Orchestra performed some of Williams' best-known music, with Williams conducting the \"Raiders March\" from the Indiana Jones movies at the end of the show.[123] Williams made a surprise appearance at the U.S. premiere of the Indiana Jones and the Dial of Destiny (2023) on June 15, where he conducted themes with a live symphony orchestra. Also present were Spielberg, Lucas, Harrison Ford, and James Mangold.[124]\n
In 1956, Williams married Barbara Ruick, an American actress and singer, and remained married until her death in 1974. They had three children: Jennifer (Jenny) Williams Gruska (b. 1956), Mark Towner Williams (b. 1958), and Joseph Williams (b. 1960); the last is best known as the lead singer of Toto.[125] In 1980, Williams married Samantha Winslow, a photographer.[126]\n
Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a report on 20/20 in 1983.[104] Williams is regarded as one of the most influential film composers. His work has influenced other film composers, as well as contemporary classical and popular music. Norwegian composer Marcus Paus argues that Williams' \"satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework\" makes him \"one of the great composers of any century\".[127] Similarly, his film music has clear influences from other classical and film composers, including Holst,[128]Stravinsky, Korngold, and others. But while many have specifically referenced the similarities,[129][130] these are generally attributed to the natural influence of one composer on another.\n
Williams has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl Hall of Fame. Williams was honored with the annual Richard Kirk award at the 1999 BMI Film and TV Awards, recognizing his contribution to film and television music.[141] In 2004, he received a Kennedy Center Honor.[142] He won a Classic Brit Award in 2005 for his soundtrack work of the previous year. Williams has won the Grammy Award for Best Instrumental Composition for his scores for Star Wars, Close Encounters of the Third Kind, Superman, The Empire Strikes Back, E.T. the Extra-Terrestrial, Angela's Ashes, Munich, Indiana Jones and the Kingdom of the Crystal Skull, and The Book Thief. The competition includes not only composers of film scores, but also composers of instrumental music of any genre, including composers of classical fare such as symphonies and chamber music.\n
^Nylund, Rob (November 15, 2022). Classic Connection reviewArchived November 17, 2022, at the Wayback Machine, WBOI (\"For the second time this year, the Fort Wayne Philharmonic honored American composer, conductor, and arranger John Williams, who was born on February 8, 1932.\")\n
^ ab\"Sony Classical Williams Biography\". Archived from the original on October 12, 2007. Retrieved October 12, 2007.{{cite web}}: CS1 maint: bot: original URL status unknown (link) at Sony Classical; retrieved September 29, 2007. During his time in college, Williams was a pianist at a local club.\n
^Daniloff, Caleb (May 18, 2009). \"Williams surprises Spielberg\". BU Today. Boston University. Archived from the original on July 15, 2021. Retrieved July 15, 2021.\n
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^Scott, A. O. (June 29, 2001). \"Do Androids Long For Mom?\". The New York Times. Archived from the original on October 23, 2021. Retrieved November 27, 2023.\n
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^Berardinelli, James. \"Catch Me If You Can\". ReelViews.net. Archived from the original on December 3, 2019. Retrieved July 3, 2008.\n
^\"John Williams \u2013 Film Composer'. h2g2. Archived September 27, 2016, at the Wayback Machine Accessed June 1, 2019. \"Reminiscent of the 'Dies Irae' from Verdi's Requiem, 'Duel of the Fates' was written to accompany the climactic lightsaber battle in the first of the Star Wars prequels. While much of the film failed to meet the expectations generated by its hype, this scene stood out as a dazzling work of fight choreography, and the score was an important part of that.\"\n
Moormann, Peter (2010). Spielberg-Variationen: die Filmmusik von John Williams (in German). Baden-Baden: Nomos, Edition Reinhard Fischer. p. 797. ISBN978-3-8329-5355-3.
Paulus, Irena: \"Williams versus Wagner \u2013 Or an Attempt at Linking Musical Epics\". In: Stoppe, Sebastian (2014). Film in Concert: Film Scores and their Relation to Classical Concert Music. Gl\u00fccksstadt, Germany: VWH Verlag. pp. 63\u2013108. doi:10.25969/mediarep/16802. ISBN978-3-86488-060-5..
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Stoppe, Sebastian: \"John Williams's Film Music in the Concert Halls\". In: Audissino, Emilio (2018). John Williams, Music for Film, Television and the Concert Stage. Turnhout: Brepols. pp. 95\u2013116. doi:10.25969/mediarep/16800. ISBN978-2-503-58034-0.
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Valverde, Andr\u00e9s (2013). John Williams: Vida y Obra(in Spanish). Berenice Press. ISBN978-8-4154-4142-7.
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+ "page_last_modified": " Sun, 17 Mar 2024 09:36:56 GMT"
+ },
+ {
+ "page_name": "Which film composers have won the most Academy Awards? - Classic FM",
+ "page_url": "https://www.classicfm.com/discover-music/which-composers-have-won-the-most-oscars/",
+ "page_snippet": "Let us introduce you to the multiple Oscar-winning musical masterminds behind some of our best-loved movie soundtracks.John Williams has received more than 50 Oscar nominations to date \u2013 more than any other living composer \u2013 so it\u2019s no surprise the composer comes a very close third on this list. Since winning Best Original Score for Fiddler on the Roof at the 44th annual ceremony in 1972, the American composer has continued to mesmerise audiences with his soundtracks. His four other winning soundtracks include the scores to Spielberg\u2019s thriller Jaws in 1976, the music for Star Wars in 1978, E.T. The Extra Terrestrial in 1983 and the heart-breaking music for Schindler\u2019s List in 1994. His four other winning soundtracks include the scores to Spielberg\u2019s thriller Jaws in 1976, the music for Star Wars in 1978, E.T. The Extra Terrestrial in 1983 and the heart-breaking music for Schindler\u2019s List in 1994. Read more: 10 of John Williams\u2019 all-time greatest film themes, ranked \u00b7 John Williams conducts an extract from \u2018Flight to Neverland\u2019 from Hook \u00b7 With a total of five Oscar wins, English composer and conductor John Barry has also found success with the Academy. John Williams conducts an extract from \u2018Flight to Neverland\u2019 from Hook \u00b7 With a total of five Oscar wins, English composer and conductor John Barry has also found success with the Academy. In 1967, he took home Best Original Score and Best Original Song for his soundtrack to Born Free \u2013 a heartwarming true story about Elsa the lion. Known for his spectacular scores to Disney\u2019s Little Mermaid, Aladdin and Pocahontas, American composer, Alan Menken is part of an elite group of EGOT holders (winner of an Emmy, Grammy, Oscar and Tony award). The composer also has a won a whopping eleven Grammy Awards. Menken won both Best Original Score and Best Original Song for all four of the following films; The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995). The Little Mermaid - Under the Sea (from The Little Mermaid) (Official Video) John Williams has received more than 50 Oscar nominations to date \u2013 more than any other living composer \u2013 so it\u2019s no surprise the composer comes a very close third on this list.",
+ "page_result": "\n\n\n\n\n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n Which film composers have won the most Academy Awards? - Classic FM\n\n \n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n \n\n\n\n\t\n\t\t\n\t\n\n\n\n\n \n\n \n \n\n \n \n \n\n\n \n\n \n \n \n\n \n\n \n \n\n\n \n \n\n \n \n \n\n\n\n\n \n\n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n\n \n\n\n\n\n\n\n\n\n\n\n\n \n\n \n \n \n \n
We\u2019ve ranked the most legendary musical masterminds - in order of total number of Oscars - who have won big at the glitzy annual awards ceremony.
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The Academy Awards ceremony, perhaps better known as the Oscars, has been running since 1929 and is one of the most prestigious events in the film industry\u2019s calendar.
The annual awards show recognises excellence in cinema and the glitzy ceremony is routinely watched by millions of people from all corners of the globe.
Alongside the prestigious accolades for Best Actress, Best Director and Best Film, the Academy also presents two highly sought after musical awards; the Oscar for Best Original Song and the Oscar Best Original Score. Over the last 70 years, since the ceremony\u2019s first telecast in 1953, we\u2019ve witnessed both well-seasoned and newcomer composers pick up these coveted awards, with some even winning multiple times.
So, to celebrate the achievements of composers \u2013 telecast or not, we\u2019ve created a list of the most decorated musicians to have their work honoured at the Oscars over the last century.
Bette Midler performs 'The Place Where Lost Things Go' at the Oscars 2019
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Alfred Newman \u2013 9 wins
The 20th century American composer, Alfred Newman, received 45 nominations during his lifetime (1900 - 1970) for his soundtracks. Along with two of his fellow composers, Max Steiner and Dimitri Tiomkin, was considered one of the \u201cthree godfathers of film music\u201d.
Over his forty year career he scored over 200 films, and was one of the most respected film score composers of his time.
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Some of his most notable work includes the scores to: Wuthering Heights (1939), The Hunchback of Notre Dame (1939), How the West Was Won (1962), and Airport (1970).
Alfred was the head of a family of major Hollywood film composers. His brother Lionel Newman won the Academy Award for Best Score of a Musical Picture for Hello Dolly! (1969).
His son, Thomas Newman, has been nominated for fifteen Academy Awards (notable scores include, The Shawshank Redemption (1994), WALL-E (2008), the James Bond films Skyfall (2012) and Spectre (2015). His nephew, Randy Newman, has won two Academy Awards for Best Original Song (\u201cIf I Didn't Have You\u201d from Monsters, Inc. (2002), and \u201cWe Belong Together\u201d from Toy Story 3 (2011).)
Main Title - How the West Was Won (1962) - Alfred Newman
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Alan Menken \u2013 8 wins
Known for his spectacular scores to Disney\u2019s Little Mermaid, Aladdin and Pocahontas, American composer, Alan Menken is part of an elite group of EGOT holders (winner of an Emmy, Grammy, Oscar and Tony award).
The composer also has a won a whopping eleven Grammy Awards.
Menken won both Best Original Score and Best Original Song for all four of the following films; The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995).
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The Little Mermaid - Under the Sea (from The Little Mermaid) (Official Video)
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John Williams \u2013 5 wins
John Williams has received more than 50 Oscar nominations to date \u2013 more than any other living composer \u2013 so it\u2019s no surprise the composer comes a very close third on this list.
Since winning Best Original Score for Fiddler on the Roof at the 44th annual ceremony in 1972, the American composer has continued to mesmerise audiences with his soundtracks.
His four other winning soundtracks include the scores to Spielberg\u2019s thriller Jaws in 1976, the music for Star Wars in 1978, E.T. The Extra Terrestrial in 1983 and the heart-breaking music for Schindler\u2019s Listin 1994.
John Williams conducts an extract from \u2018Flight to Neverland\u2019 from Hook
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John Barry \u2013 also 5 wins
With a total of five Oscar wins, English composer and conductor John Barry has also found success with the Academy.
In 1967, he took home Best Original Score and Best Original Song for his soundtrack to Born Free \u2013 a heartwarming true story about Elsa the lion.
Subsequent wins have included for his scores for The Lion In Winter (1969), Out of Africa (1985) and Dances With Wolves (1990).
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John Dunbar Theme - Dances with Wolves
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Johnny Green \u2013 also 5 wins
American composer, John Waldo Green, was nominated for an Oscar thirteen times, and won five awards.
The twentieth century composer won for the musical scores of films including An American in Paris (1951), West Side Story (1961), and Oliver! (1968).
\n\n\n\n Johnny Green at the 50th Academy Awards.\n \n Picture: \nGetty\n\n\n \n\n\n
Multiple high profile composers have received four or three Academy Awards each.
Composers who have won four awards include; Henry Mancini, Johnny Mercer, Andr\u00e9 Previn, Dimitri Tiomkin and Jimmy Van Heusen.
Those with three Oscars each include; Max Steiner, Miklos R\u00f3zsa, Maurice Jarre, Howard Shore, Michel Legrand, Marvin Hamlisch, Burt Bacharach, Giorgio Moroder and Stephen Schwartz.
Join Jonathan Ross on Saturday Night at the Movies, every Saturday from 7pm for more movie classics, and catch up on Global Player.
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+ "page_last_modified": ""
+ },
+ {
+ "page_name": "Composer John Williams Breaks Own Record as Most Oscar-Nominated ...",
+ "page_url": "https://people.com/movies/john-williams-breaks-record-most-oscar-nominated-person-alive/",
+ "page_snippet": "John Williams is still making history. On Tuesday, the legendary composer received a Best Original Score nomination at the upcoming 95th Academy Awards for his work on Steven Spielberg's The Fabelmans. This makes for his 48th nomination for a score and 53rd overall Oscar nomination.Taylor Swift, Viola Davis, James Cameron and More Snubbed by Oscars 2023 Nominations \u00b7 In 2005, the American Film Institute chose Williams' score to the 1977 Star Wars film as the greatest American film score of all time, while the Library of Congress entered the soundtrack into the National Recording Registry for being \"culturally, historically or aesthetically significant.\" In terms of the most Oscar nominations in history, he trails only behind Walt Disney, who received 59 nominations (including 22 total wins), according to Forbes. The Academy of Motion Picture Arts and Sciences also noted in a press release that Williams is \"to the best of our knowledge\" the oldest Oscar nominee in a competitive award category. \"I'm very grateful to the Academy for their kind recognition, and I'm enormously grateful to Steven Spielberg for offering me the opportunity to compose the score for this very special and personal film,\" Williams said in a statement, per The Hollywood Reporter. John Williams is still making history. On Tuesday, the legendary composer received a Best Original Score nomination at the upcoming 95th Academy Awards for his work on Steven Spielberg's The Fabelmans. This makes for his 48th nomination for a score and 53rd overall Oscar nomination. This makes for his 48th nomination for a score and 53rd overall Oscar nomination. Williams, 90, is the most-nominated person alive and broke his own record with the nomination, which he last broke in 2020 as he was nominated for Star Wars: The Rise of Skywalker.",
+ "page_result": "\n\t\t\t\t\n\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t \n \n \n\n\t\t\t\t\t\n\t\t\t\t\t\n\n\n\n\n\n\n\n\nJohn Williams Breaks Own Record as Most Oscar-Nominated Person Alive\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\t\t\t\t\n\t\t\t\t\t\t\t\n\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\n\n\n\n\n\nSkip to content\n\n
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