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Thread: Maestro ilaiyaraaja news & titbits

  1. #101
    Junior Member Devoted Hubber rajaramsgi's Avatar
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    Thanks Vinatha, app_engine and SKV for the very simple and detailed explanation. As you say, the lesser ocatves used, the lesser choices for anyone to compose a song.

    Assuming that raja used 2 notes or even 1 note for a song, how far he must have gone to other ocataves to bring a simple melody? whether it is va va pakkam va OR the telugu song he performed in Andrum Indrum Endrum ( http://www.youtube.com/watch?gl=GB&v=EwGeHvOCxfQ 3 notes telugu song with Shreya)

    I am sure our man is capable of any musical magic. He is blessed without any doubt, my point is he just did not sat there with his blessings, he made of use of it, learned, developed, achieved and achieving.

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  3. #102
    Senior Member Veteran Hubber baroque's Avatar
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    paarungaa.

    B'lore had 3 or more theaters played English movies it seemed, my husband told me that he watched good movies when he started to work.
    Golden years!

    some fine movies like E.T came during 80s.

    I remember Gandhi came during Mundhanai mudichu time around 82 or 83- school yrs, I guess.

    Classics.

    End of the day,namakku oru pozhudhu pokku,reading books, listening music, watching some movies/programs in local channels & Indian films-rented DVDs

    Vinatha.
    Last edited by baroque; 19th January 2012 at 10:45 PM.

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    Jaws: (John Williams) The first film to ever gross more than $100 million, Jaws also represented the mainstream debut of director Steven Spielberg. An incredibly well conceived concept and outstanding screenplay scared audiences in such a timeless fashion that the film is still effectively terrifying more than thirty years after its release. Another reason for the film's great memorability relates to its striking score by composer John Williams, who had previously worked with Spielberg on Sugarland Express. When Williams first invited the director to his studio and played on a piano the two-note theme he had conjured to represent the great white shark in Jaws, Spielberg responded by saying something along the lines of "you're kidding, right?" Fortunately for both, Williams wasn't kidding, and thus was born a film music and silver screen legend. Spielberg was still an up and coming director, with only a few small, successful films under his belt, but Williams was already an Academy Award winner and the composer of choice for large-scale disaster films. His popular scores of the early 1970's for The Poseidon Adventure, Earthquake, and, most notably, The Towering Inferno had offered a glimpse of the symphonic rebirth that Williams was initiating in Hollywood at the time. He would go on to earn Academy Award wins for both Jaws and Star Wars within a two year span, elevating him to a status of the top composer of the 1970's. The production of Jaws was a near disaster during its shooting, mostly due to "Bruce," the mechanical shark that was useless 90% of the time, and Spielberg was counting on a strong score with a dark and sweeping identity to help save the production. Such was the reason for Spielberg's surprise when Williams produced a title theme consisting of a repeating two-note phrase. On the piano, it sounded silly, but when performed by the large string section of an orchestra, both men were surprised by the monstrous thematic creation they had stumbled upon. There is no serious debate about the functionality of the music in the film. Part of the film's dominant success was due, directly, to its relatively deceptive use of music, however.

    The ingenious idea of using the mindless two-note progression to represent the shark is effectively applied to the score by its tempo or even by its absence. The two-note progression was meant to match the blood pressure of the shark, but not the audience. Many people mistakenly believe that the theme was intended to reflect the horror level of the audience. In fact, the idea represents the internalized zeal of the shark itself, a flow that Williams and Spielberg allowed the audience to listen in on. The theme increases its pace as the shark gets excited, and it is absent from scenes in which the shark isn't anywhere near the present locale (most notably in the false alarm scenes of mistaken identity). The shark's primitive and brutal hunting instincts make the structurally simplistic two-note theme into the embodiment of the shark that Spielberg had struggled to obtain with the actual, physical shark that he had built for the film. Even if you see a fin in the water, if Williams' theme isn't heard, then there's no reason to worry or panic. A deep horn motif that actually serves as the primary theme for the film is usually presented on top of this simple ostinato, though this idea is truly overshadowed by its underlying rhythm. The theme's concert version and the cue "Man Against Beast" both build to a wondrous crescendo of melodramatic movie music fantasy on strings that is pure Williams in style. Accompanying the title theme is a pleasant, if not jubilant theme for the cozy beach town of Amity, one which provides a handful of thematic bursts that serve as early evidence of Williams' talent for capturing the Americana spirit. The enjoyable statements of adventure music as the Orca sails off and chases the shark are highlighted in "Man Against Beast" once again, which prompted Williams to compare that lengthy duel as having a "pirate spirit" that necessitated music that rolls along with jovial sport. Williams slowly takes that uplifting spirit and transfers it into one of increasing panic and desperation as the Orca comes under life-threatening attack, until the ultimate timpani roll declares relief as the decapitated shark's blood fills the ocean waters.

    John Williams composed the film's score, which earned him an Academy Award for Best Original Score and was ranked sixth on the American Film Institute's 100 Years of Film Scores.[41][42] The main "shark" theme, a simple alternating pattern of two notes, E and F,[43] became a classic piece of suspense music, synonymous with approaching danger (see leading-tone). Williams described the theme as having the "effect of grinding away at you, just as a shark would do, instinctual, relentless, unstoppable."[44] The soundtrack piece was performed by tuba player Tommy Johnson. When asked by Johnson why the melody was written in such a high register and not played by the more appropriate French horn, Williams responded that he wanted it to sound "a little more threatening".[45] When Williams first demonstrated his idea to Spielberg, playing just the two notes on a piano, Spielberg was said to have laughed, thinking that it was a joke. Spielberg later said that without Williams's score the film would have been only half as successful, and Williams acknowledges that the score jumpstarted his career.[6] He had previously scored Spielberg's feature film debut The Sugarland Express and went on to collaborate with him on almost all of his films.[44]

    As Williams saw similarities between Jaws and pirate movies, he tried to add much "pirate music, which is primal, but fun and entertaining".[6] The score contains echoes of Igor Stravinsky's The Rite of Spring, particularly the opening of "The Adoration of the Earth" and "Auguries of Spring".[46] The music has drawn comparisons to Bernard Herrmann's score for Alfred Hitchcock's Psycho and the ominous music for the off-screen hunter in Bambi, in which the music enhances the presence of an unseen terror, in this case the shark.[47]

    There are various interpretations of the meaning and effectiveness of the theme. Some have thought the two-note expression is intended to mimic the shark's heartbeat.[48] Others have stated that the music at first sounds like the creaking and groaning of a boat, and therefore is inaudible when it begins so that it never seems to start, but simply rises out of the sounds of the film. One critic believes the true strength of the score is its ability to create a "harsh silence", abruptly cutting away from the music right before it climaxes.[47] Furthermore, the audience is conditioned to associate the shark with its theme, since the score is never used as a red herring.[44] It only plays when the real shark appears. This is later exploited when the shark suddenly appears with no musical introduction. Regardless of the meaning behind it, the theme is widely acknowledged as one of the most recognized scores of all time.[49]

    The original soundtrack for Jaws was released by MCA Records in 1975, and as a CD in 1992, including roughly a half hour of music that John Williams redid for the album.[50][51] In 2000, two versions of the score were released: Decca/Universal reissued the soundtrack album to coincide with the release of the 25th anniversary DVD, featuring the entire 51 minutes of the original score,[50][51] and Varèse Sarabande put out a rerecording of the score performed by the Royal Scottish National Orchestra, conducted by Joel McNeely.[52]

    The Jaws Theme by John Williams is the theme song to the 1975 film Jaws. It was ranked sixth on the American Film Institute's 100 Years of Film Scores. The main "shark" theme, a simple alternating pattern of two notes, E and F became a classic piece of suspense music, synonymous with approaching danger.

  5. #104
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    Interesting stuff! Thanks for sharing

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    5 Note theme by John Williams-still broadcast to outer space by USA

    At the beginning of 1977, composer John Williams was very well known in Hollywood (primarily for his work in television and several Oscar-nominated scores dating back to 1967). However, this was the year that would catapult him to the A-list, joining such luminaries as Ennio Morricone, Jerry Goldsmith, and John Barry. At the 1978 Academy Award celebration, Williams faced off against himself. While he won for Star Wars, with its bolder, brasher music, one could make an argument that his work for Close Encounters (for which he was also nominated) was more accomplished. Indeed, the signature five notes linger in the memory today, and, at the time, everyone with a musical instrument knew how to play them. (Ironically, there was nothing special about that combination. Williams and Spielberg eventually picked it out of hundreds of possibilities because they needed something, not because it stood out.) Aside from the principle notes, the Close Encounters score is low-key, doing what good movie music should do: setting the mood, but not overpowering the screen action.

    Commenting about his 1996 Oscar-nominated score for Nixon, John Williams said, "People may say that the best film music is that which is not noticed because it is so seamlessly a part of what you see and hear. Certainly, that's largely the way the audience responds as they look and listen, perhaps, to dialogue (superimposed over the music). But there are some areas in the screenplay where the music is more in the open, as it were - when there is a better chance of the audience being consciously aware of the music - as they would be in a concert - but I think those occasions are rare. I think the music provides an emotional pull for the audience that isn't there until you introduce music into a scene."

    Although quoted somewhat out of context, John Williams is surely being unduly modest for his screen music is noticed and admired. The Star Wars soundtrack album, for instance, has sold over four million copies - more than any other non-pop album in recording history. Furthermore, his music also stands supremely well independently of the screenplay as the numerous recordings of his work testify. Unlike so many scores that are impoverished of invention after the statement of a solitary main theme, John Williams's music has real integrity - it is superbly crafted with a richness of invention of themes, melody, harmony, dynamics, texture and orchestration. There is always something to interest the ear.

    The record shows that he has composed the music and served as music director for more than seventy-five films since 1959. He has received thirty-three Academy Award nominations and has been awarded five Oscars, four British Academy Awards (BAFTAs), and sixteen Grammies as well as several gold and platinum records. His Academy Award scores are: Fiddler on the Roof (Best scoring: adaptation and original song score), Jaws, Star Wars, E.T. and Schindler's List.

    There are so many memorable Williams melodies that, once heard, seem to persist in one's head for days. The composer's range and versatility, writing for so many diverse screenplays, is truly remarkable: the childish mischief of The Reivers; the boyish, hero-worship of Empire of the Sun, the terror of Jaws and Jurassic Park; the tragedy of JFK; the mythology and heroics of the sci-fi spectaculars Star Wars and Close Encounters of the Third Kind (AAN- Academy Award Nomination); the horror of Born on the Fourth of July (AAN); the quirky humour of The Accidental Tourist (AAN); the Boys-Own-Paper thrills of Raiders of the Lost Ark (AAN); the poignancy and compassion of Schindler's List; the sparkling sophistication of Sabrina (AAN); and the dark, disillusionment of Nixon (AAN) - all are unerringly and sensitively caught.

    Musicians have often remarked on the skill and imagination with which he has written for their instruments and about his taste and style as an artist but it is also worth mentioning his masterly writing for voices whether they are proclaiming the mystical impenetrability of space or singing in the authentic Jewish idiom in Schindler's List. His Exsultate Justi from Empire of the Sun is a significant composition in its own right.

    John Williams is tall and imposing and looks rather "professorish", with his high domed head and shortish beard, yet he looks remarkably youthful. He is quietly spoken and courteous, and answers questions lucidly, thoughtfully and at length.

    Talking about his early experiences, John Williams said: "My family moved to California in the late 1940s, when I was a teenager, from New York where my father had played in the CBS Radio Orchestra. At that time I was studying piano. My father worked in the studio orchestras in Hollywood and through his connections I began to meet people and study with teachers who were familiar with the film world and its music. In 1949, as a youngster, I went to Columbia Pictures and played with the orchestra, of which my father was then a member, for one or two days just as a fun outing. Then I used to be invited to join the orchestra if the pianist was absent. I was very fortunate to be so close to film music as a child.

    "After military service I attended UCLA (and studied composition privately with Mario Castelnuovo-Tedesco) and, later, went to the Juilliard School to study under the great piano teacher - Rosina Lhevinne. I returned to California in 1956 and began to work in the studios as a pianist but I never thought about composing for films; my interest was piano. For two or three years, I sat in Hollywood studio orchestras as a pianist. At length, I began to get invitations from my colleagues to orchestrate this or that scene, then to conduct a scene while somebody was having lunch. Eventually, I was asked to write a film score of my own. This long apprenticeship and evolution led me to great good fortune in my life."

    "I remember working with Alfred Newman. I returned to California for the soundtrack of South Pacific which Newman was conducting at Fox. I was asked to play in the orchestra because their pianist was retiring. Alfred Newman was the first of the Newman brothers that I met - I would play for Lionel Newman in later years, as well as for Miklós Rósza and Bernard Herrmann for whom I played piano. Bernard and I became great friends. We both worked in television in the late 50s and early 60s and in Hollywood at Universal studios, and I also used to spend a lot of time with him every time I came to London - you'll recall he lived here in the 1960s. I was quite fond of him and loved his music - as we all do."

    When asked to identify the film and concert composers who had influenced his work, Williams answered: "There are so many. In the film world, I would have to mention again Alfred Newman and Bernard Herrmann but also Korngold - the great Viennese composer who went to Hollywood in the early years - he was a great hero of mine and Franz Waxman - and many, many others. In the concert field, there were, again, so many. I have to mention William Walton, a great favourite of mine - I admire his film and concert music. Walton was held in very high esteem in Hollywood. I like Elgar too, and all the Russian composers. The twentieth century Russians: Stravinsky, Shostakovich, Prokofiev - all were great idols of mine as a youngster."

    Later in the interview, I asked John Williams to comment on three scores: Superman, Close Encounters of the Third Kind and The Accidental Tourist.

    Setting aside the well-known heroic Main Title theme of Richard Donner's Superman, music which invests the character with a certain dignity and credibility, and the Love Theme (despite the voice of Margot Kidder), I asked Williams about two other impressive cues: Leaving Home and The Fortress of Solitude. Leaving Home contains the idyllically beautiful music for the scenes of the funeral of the foster father (Glenn Ford) set in a wide expense of prairie, while Superman is still a youth. When I suggested that the music carried a nostalgia for the American heartland together with a feeling of the vulnerability - the essential loneliness - of Superman and asked if he had had these thoughts in mind, he concurred - "...but not so much with the loneliness, that's a very interesting aspect... I think I was thinking more of his lineage and his youth and the expanse of the country, which was beautifully photographed, to contrast with the extra-planetary aspects of his life."

    Of the ethereal-like, almost Holstian music of the Fortress of Solitude with its lovely, slowly- evolving, serene string melody, Williams confirmed that all the effects were created in the orchestra entirely, using a variety of treble instruments: triangle harps celeste etc.- there was no electronic input. "I remember the sequence very well and the atmospheric elements. The London Symphony Orchestra responded marvellously to produce a splendid sound", observed Williams "That's a very imaginative piece - Superman. It's a kiddies film, in a sense, but there's a lot of mythology in it and this mythological/mystical reach into the soul, into our inner life, was the role of the music. A film like Superman is a splendid opportunity for music."

    John Williams began working on musical ideas for Close Encounters of the Third Kind two years before the film was finalised, basing his impressions on the unfinished script and dinner conversations with Steven Spielberg. Spielberg himself has said, "In many instances John wrote his music first, while I put the scenes to it much later." Speaking to me, John Williams added, "The wonderful imagination of Spielberg really inspired the music - the way he shot that film. I remember seeing the film for the first time. I had never seen spaceships conceived in that way - the colours, styles and lights. To accompany such arresting images, the music itself, the orchestration, needed to be brilliantly coloured. It was a fantastic challenge; a very, very difficult work.

    "I was attracted, artistically, by the wonderful theme of that film - a question that haunts us all: are we alone in the universe or not? The Spielbergian child-like answer is in his wonderful creatures who are pacific, friendly and brilliant. They come to assuage our fears and to welcome us into their community, a community that functions at a higher level because we have finally evolved to a degree where we, too, have earned our membership. I believe that's a hope that we all hold dear and Spielberg has given us an opportunity to share these feelings.

    "In this spirit, the idea to incorporate When You Wish Upon A Star was Spielberg's. I think for him, it had something to do with the innocence of childhood and Walt Disney's music, especially Pinocchio, that we all loved as children. He wanted to attach that childhood innocence to a feeling of nostalgia that would effect an audience. So, in a situation that is alien - completely remote from our experience - seeing these creatures and their machines but hearing something very familiar, When You Wish Upon A Star, you feel safe and at home."

    "Spielberg had the idea that we should have a five-note motif (the famous alien message motif that recurs throughout the film) but I actually suggested that we have a slightly longer one. Then we both noticed that if we exceeded five notes and used six or seven you suddenly began to have a tune. But a musical signal, like a doorbell, would only be three, four or five notes long; so we settled on five. I wrote about 350 five-note combinations and played through them all to narrow the choice. Then I had several meetings at the piano with Steven to decide which one would have the most haunting effect. After days of trial and error, we both settled on the one that was eventually used. There was no real scientific reason other than it's very simple; the intervals are very clear and it ends on the fifth degree of the scale rather than the first so its like ending a sentence with the word "but" so that you can continue and make a loop of that sentence and go on and on ad infinitum. The interval of the perfect fifth also rattles our memories of antiquity and the fifth figures very strongly in the musical motifs of Close Encounters...."

    Turning to a quite different film, The Accidental Tourist, I asked John Williams about the way he portrays a film's characters in music. "I loved writing the music for that film," he commented enthusiastically. "I wanted to write a romantic theme because it was a love story in a way. Then when I began to think about it, I realised that it was not so much a love story but more of one about healing and grief, and working through that grief to find a happy loving experience at the other end. The loss that the William Hurt character suffered was something that I tried to depict in my music as he comes together in his new life with this young woman (Geena Davis)."

    There is a scene early in the film that demonstrates Williams's skill in producing an effect with sensitivity and economy. William Hurt is asked to identify the body of his son who has been accidentally shot in a hold-up. The music tells you everything as Hurt goes behind the curtains in the mortuary. Within the space of a few remote and dislocated-sounding chords you feel Hurt's pain and you sense, as he recognises the body of his son, the departing spirit of the boy.

    "I saw the film before I commenced work and I was very moved by the performance of William Hurt and also the gifted young Geena Davis," added Williams. "William Hurt, as a man who had been wounded, had a kind of quietude, a sort of ruminative mood, to which I could respond very positively. And Geena Davis had a natural bubble and a fabulous energy about her. So I was certainly effected by these characters and the way the actors played them when approaching the composition of the music."

    When I asked if he had read the original Anne Tyler novel to obtain an extra dimension of inspiration he said, "No, but only because I don't like to read material before I begin working on a film. You tend to have a such pre-conception from anything you read, that when you look at a film, it often doesn't match your mental image of what should be there so I prefer to see a film with a completely "clean slate" as it were."

    John Williams's score for Nixon must be one of his darkest to date. The enterprising Polydor/Hollywood Records soundtrack CD includes a CD-Rom element which includes a filmed interview with both Williams and Oliver Stone about the music. This article's introductory quote comes from it.

    Of the Nixon music, John Williams says that it is thematic but in a more motific way. One side of the orchestra might be playing in an American, grass-roots, solidity sort of way when the other suddenly presents a dissonant element. It is heroic one moment - "the next... maybe tortured is perhaps too strong a word" but its that sort of feeling.

    Speaking of the film's special demands, Williams adds, "Oliver Stone's films are documentary in nature - at least the ones with which I have been associated with (JFK and Born on the Fourth of July). They are not so straightforwardly narrative.... There are flash-forwards and flash-backs in the middle of a scene and there may be some reference to meetings in China that took place years before or have haven't even happened yet - right in the middle of a dialogue scene in the White House.... so we need to have music before, during and after these collages to sew everything together.

    "Here in the film studio we regularly mix very advanced technological sound production sources with traditional acoustic instruments in a wonderful way. At the beginning of the film, as General Haig is approaching to have his meeting with Nixon in his private quarters, in an absolutely empty White House, the music creates a very sinister atmosphere but electronically we also produce some "explosions" which are very low - you almost don't hear them but you feel them; they're almost like a kind of napalm - like something in Cambodia that may not even have happened yet. It's something of a preview of the future and I think the effect can be powerfully suggestive."

    Oliver Stone says: "John Williams has really entered into the dark side of Nixon's character but at the same time given him a grandeur which is important because, although Nixon could be mean and petty, he also had a grander theme to his life which John addresses in a classical score that is reminiscent, for me, of the feelings evoked by the music of Mahler - a composer that Nixon himself admired."

    In addition to his film music, John Williams has also written a number of concert works including two symphonies and concerti for flute, bassoon, violin and cello. Sony Classical recently released his The Five Sacred Trees (Concerto for Bassoon and Orchestra) - about the majesty, magic and mythology of trees - conducted by Williams (SK 62729); and the Company plans to record the composer's Cello Concerto with Yo-Yo Ma, again with Williams as conductor. John Williams said that it is "a sweeping, romantic melodic work with a blues section and a brilliant pyrotechnical finale."

    Asked, of all the many films that he had scored, which was his favourite he replied: It's a difficult question," he said, "but if I'm pressed for an answer, then I would select Close Encounters of the Third Kind for the all the reasons we've discussed."

    Talking about composers that he admires who are working in the medium today, he cited the continuing excellence of the work of Jerry Goldsmith and confirmed that he thought highly of the work of composers such as James Horner and James Newton Howard. "There's a young member of the Newman family - Thomas Newman - who I think is one of the most gifted of the young people who are coming along. His score for The Shawshank Redemption stands in my mind as one of the most impressive from the younger generation."

    Both Spielberg and Oliver Stone have spoken about the ease and spontaneity of their working relationship with John Williams and how his skill and adaptability has provided them with the freedom to fully extend their creativity. In turn, John Williams has produced probably the most distinguished corpus of film scores in the history of the cinema.

  7. #106
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    The John Williams score was created before the film was edited. Steven Spielberg edited the film to match the music, a reverse of what is usually done in film scoring. Both Spielberg and Williams felt that it ultimately gave the film a lyrical feel.

    John Williams: Another opportunity that we have in film also is to create melodic identifications with characters. Leitmotif technique from opera, if you like, centuries old, certainly works very well in film. So we can identify people aurally on and off the screen. We can suggest the presence of a character. We can sense Darth Vader's approaching, because we hear his tune. And so these are parts of the toolbox of how we put together a soundtrack to a film that will illicit emotions and underscore them, suggest them, enhance them.

    Jaws music

    Jo Reed: That was 2009 National Medal of Arts recipient, John Williams, talking about the art of scoring films.

    Welcome to Art Works, the program that goes behind the scenes with some of the nation's great artists to explore how art works. I'm your host, Josephine Reed. Born in 1932, John Williams has composed many of the most famous film scores in Hollywood history, including all six Star Wars films, the first three Harry Potter movies, and nearly all of Steven Spielberg films, notably Jaws, Close Encounters of the Third Kind and all of the Indiana Jones movies. Williams's also written more than a score of musical compositions for the concert hall and from 1980 to 1993, served as the principal conductor of the Boston Pops Orchestra. In 2003, John Williams wrote the composition Soundings and conducted it for the opening of LA's Walt Disney Concert Hall. And in 2009, he composed and arranged Air and Simple Gifts for President Barack Obama's inauguration.

    I spoke to John Williams when he came to Washington DC to receive his National Medal of Arts. We spoke in one of the dining rooms of the Four Seasons hotel in historic Georgetown. I began our conversation with an obvious question: 45 Academy Award nominations, 5 Academy awards, 4 Golden Globe awards, 20 Grammy awards … do you sleep?

    John Williams: Well, I sleep fairly well. Will depend on the workload I suppose. As with all of us, the busier we get sometimes the more spinney we become. But music is not so much of a job as it is something we love to do. And I think, certainly in my case being now a senior musician, anyone who's practiced music for a number of decades will always tell you, I think, that the longer and harder we work the more we become infatuated with music and see more in it and take more from it. And so it's hard work. Music is. Anyone who's learned and practiced an instrument or studied to write academic fugues will tell you it's a tough job, but the rewards are especially gratifying I think. For me, it has been and continues to be a working life. And I think I'm lucky that my subject is music, because it is so rewarding.

    Jo Reed: Can you tell me how you moved into composing for films?

    John Williams: Well, I always composed. As a child, I tried to write little pieces and, as a teenager, began to orchestrate some of them. And my father was a musician, and there were theory books sitting around the house that were there underfoot since age eight or ten or whatever. But piano was my serious study. I hadn't intended ever to become a professional composer. Fact wouldn't imagine anyone could earn a living doing that. I began to work in the Hollywood studios as a pianist in the orchestras in the late 1950s. And the first appointment I had was at the Columbia Studios Orchestra. The audition process was very simple. It was a sight-reading session. I was a pretty good sight reader as a youngster. And I played in the orchestras of studios in Hollywood for four or five years. Sitting every day watching older colleagues, like Alfred Newman. Some of our listeners will remember these names. Bernard Herrmann certainly they may remember, Franz Waxman and others. And I played for all of these gentlemen in some fantastic films. Some Like It Hot, I played on the piano the orchestra score of that, and actually accompanied Marilyn Monroe in the headset when she did her little songs, and Westside Story and South Pacific, so many of these, The Big Country, To Kill a Mockingbird. And I still didn't have the notion that I might be a film composer or professional composer until some of these older colleagues began to say to me can you orchestrate X scene, this is Tuesday, we need it for Thursday morning, next Monday morning. Of course, with the temerity of youth, when everything seems possible, we always say yes. And a very gradual process took place, from working primarily on the piano bench in the orchestras of the studios to the orchestrator's desk and eventually to the composing desk and was invited then to conduct some scores of my own and of others. So it was a very gradual process that I hadn't planned for or even anticipated that was the result of, like most things in life, really good fortune, wonderful timing, great opportunities that came along at about the time that I was roughly ready for them.

    Jo Reed: This might be a strange question. But can you talk about film music thinking? You compose for concerts. You compose for films. How do you approach the music differently or do you?

    John Williams: Well, there's a fundamental difference between film music and concert music. Film music is, very broadly put, an accompaniment to dialog and to action. And there are rare moments when the orchestra can take full stage. And so it would be something like examining an opera score and taking away all the vocal parts and just having the accompaniment played. So that when one is writing for film, one needs to bear in mind that we're accompanying people speaking and we don't have 100 percent or 80 percent even of the listeners' attention but we're finding a register, a tasatura, a place in the orchestra, low, high, soft, loud, whatever, that will fit the tempo of the dialog and the register of the dialog and the intensity of it or action and bear that in mind with every measure we're writing. When we write for the concert hall, we assume, 100 percent of the audience's attention or maybe 80 percent of it, we could have that much of it. And we need to fully engage them aurally and hopefully intellectually. And when it's not accompanying anything, it's engaging with the audience in a way that film composition usually fails if it aspires to do. Music and film really-- you can say that there never was silent film. When we didn't have synchronized sound, we had a pianist or a violinist or an organist in the theater accompanying the action. And if you take orchestral music particularly out of, let's see, example, action films and watch the film without it, something of the energy or the circulation, if you'd like, or the temperature of the film is taken away and it becomes inanimate almost. So the music has shown itself to be an essential part of this audio-visual experience. And it's a very different compositional mentality from the concert stage approach.

    Jo Reed: Music for film, in some ways also offers the audience emotional cues about how to respond to what they're seeing.

    John Williams: Right. That's a very good point. And we can not only underscore emotions that are developing but suggest some that may not be or references or allusions to characters or feelings. And that's a very important role in music that you point out.

    Jo Reed: You're wonderful at writing these riffs or musical signals that fit so wonderfully into the whole. You really do create the whole tapestry. And, for example, in Close Encounters, which has-- it's the first movie I saw where the composer got a round of applause…

    John Williams: <laughs>

    Jo Reed: …when the credits rolled at the end. But that five-note tone that you did, that then was such an integral part of the film is also part of the score that you create. Can you talk about how you approach that?

    John Williams: Well, Close Encounters is, in my experience at least, unique. The five-note motif that you mentioned was the result of a lot of experimentation, meeting with my friend Steven Spielberg. I think I wrote about 300-plus examples of five notes starting with all on one note and with no rhythmic variation, just intervallic, that is to say pitch differences. And we settled on this one [5 Note from the film] for whatever reasons, and it was meant to accompany the Kodaly hand signals. People may remember it was an attempt at communication with extraterrestrials with whom we didn't know whether language would work, whether intervallic musical sounds would work, whatever experiment that we would do. Colors was another. We had a note for each color if you remember. So we flashed a color and played a note to the aliens to see if they got that and then did a combination of two or three. And finally we come to the signal code that had certain colors to flash to it. This was a particular part of the script that had very little to do with the underscore of the film as a whole. The scene had to be developed musically in this way, the scene of communication. But it then, as your question suggests, suggested to me the use of that thematic signal. It wasn't even a theme. It was more like a signal to incorporate in the orchestral material following that scene. Interesting to me. Five notes I always felt was five notes as-- they all constitute a signal. You can start with the Avon doorbell, which is, what, two notes or three? I don't know what it is.

    Jo Reed: <makes two-note doorbell sound>

    John Williams: Yeah, but if you go to seven or eight notes, it's a melody. And I kept trying to say to Mr. Spielberg, "I need more than five notes to make this point. It isn't enough." And his point to me was, "It should not be a melody. It should be a signal." I think he was right in that sense that if you went a little further you already had two bars of music that you could play in whatever mode you wanted to express it. So it was an interesting exercise for me in getting to the point, absolute minimal number of syllables, words, to use a literary analogy, perhaps, of saying it all in three words instead of allowing yourself five.

    Jo Reed: You have had a very long collaboration with Steven Spielberg. How did it begin?

    John Williams: We've been working together now-- you and I are talking in 2010. Steven and I have been working for 37 years uninterruptedly. It's probably the longest collaboration <laughs> in the history of theater or film that I know of. Gilbert and Sullivan, I don't know, with their stormy relationship, how long that went on. I should know, but I don't.

    Jo Reed: I don't think it's 37.

    John Williams: I don't think so. And I think it bespeaks a lot about Steven himself. He's a very, first of all, very loyal man. And I can say simpatico in every way. It's been like a marriage without disputes or arguments. We've never really had an argument. Once in a while, we'll have not a disagreement. But I may present a scene to him with the orchestra. He'll say might be better if you do X or Y, rarely. But every time he's done that, when he's asked me to rewrite something, I've done better. Rewriting actually, for me, is the art of writing anyway. To work with the material-- in journalism, the problem always is that what we write is printed the next day. And then a week later, if you look at the prose you've done, you think, oh, my god, it could've been so much better…

    Jo Reed: <laughs>

    John Williams: …if I could've rewritten four sentences. But you don't have that opportunity. And writing film music is similar to journalism in that we record the score. The next day it's being dubbed. That is mixed. The soundtrack's being permanently fixed, and it's out before the public. And you may hear it six months later and think, oh, I could've done so much better if I'd had another month on that. But that's part of the-- one of the dynamics of commercial filmmaking.

    Jo Reed: Do you compose after you see a cut of the film?

    John Williams: Yeah, the cut of the film will give us a lot of things, tempo, rhythm, length of things, dynamics of all kinds. It'll even suggest textures, timbres, the coloration of-- many things that we mustn't do here and things that are required that seem to be necessary. There are some exceptions. You and I talked about Close Encounters a few moments ago and the signals scene, the five notes. That musical shootout between the computer board and the arriving ETs was prerecorded before the scene was shot, because we needed to have the music to shoot the scene to. There are other examples I could give you. Occasionally a director will come and say here's a scene that I want to do and it will do X or Y. Oh, another more recent example, Harry Potter, Hedwig's music, the owl that flies and has his music. Warner Bros. said can you create some music to which we will manufacture a trailer that we can create to that music. And so I wrote and recorded the music with the orchestra. Warner Bros. put together their trailer advert film for the first Harry Potter film. And everyone seemed to like the piece. So it became the main theme of most of the films. And that was written before I saw any film. I'd read the book and had an idea of what Harry Potter was, I thought, going to be musically I thought. So in answer to your question, 95 percent of the cases in film music, we all want to see the film first. But there are notable exceptions.

    Jo Reed: You wrote all the scores for the Star Wars films. The difference between the first one and the last-- the sequel, in some ways, has to-- there are musical references. But at the same time, you're also composing anew. Can you talk about that juggling act a bit?

    John Williams: Well, the Star Wars experience has been, I think, unique in music history, film music history. Not because of me, there's no waving my own flag, but because of this simple reason. The first Star Wars film that I did with George Lucas, whenever that was, I had no idea they were going to be-- he didn't tell me there was going to be a second, Empire Strikes Back. I never heard of such a thing. And I thought that Star Wars was just over and completed when I put the baton down the end of the first recording. And a year or so later, he rang up and said, "I have the next installment. And we need the old music from the first film, but we also need new music for new characters, new situations." So a process started, that lasted over, I guess, 20-plus years, of adding bits and pieces of material to a musical tapestry that started to become-- started to pile up off the floors, quite a extensive library of music. Each film having over two hour's of music. So there's about 12 to 14 hours, maybe 15 hours of orchestral music composed over a period of not 2 years but 20. And that, I think, is a unique opportunity for a composer, one that I never expected to have. And it gave me an opportunity to do the things we talked about a few moments ago that I hadn't otherwise had. That is to say an opportunity to go back over and perhaps improve some of the things I'd done. And what's fascinating is, to me, that maybe some of the newer music isn't any better or as good as the earlier ones. That's one's own personal inner struggle, inner voice. When you write something when you're 40 years old, you wouldn't write it the same way when one is 70 and vice versa. One may be better than the other or a different kind of energy or different kind of acuity, whatever will go with it. So it's been a fascinating journey, Star Wars.

    <crew talk>

    Jo Reed: It's hard to think of music that announced a film with more verve than your music did for Star Wars. The music helped make it an event. You hear the music, and everybody just lights up right away.

    John Williams: Fantastic opportunity. I did see the credit crawl. I can't quote you what's on it. I should be able to I suppose. I love that.

    Jo Reed: Long ago and far away…

    John Williams: Looking at that thing, I thought, well, it has to be a grand fanfare and it has to start off with, put it this way, with a bang, with a full fortissimo explosion of energy and trumpets and the rest of it. And so I wrote the piece that I wrote. It starts with an unprepared, high C on the trumpet. People can hear the music itself. The way that orchestra-- there's no preparation note for the trumpeters. It's very difficult. They have to grab it right out of the ether. It was a particularly great performance of brass playing. And so the spirit of, I think you could also say, militarism of the British brass tradition is apparent in the performance I think, in the writing also. Because it is a military piece after all, spaceships and an army of space, if you like to think of it that way. So it has that swagger and that sense of commitment and dedication to the journey.

    Jo Reed: I read, and correct me if I'm wrong, that Joseph Campbell had something to do with the way you envisioned the film. Is that true?

    John Williams: Well, belatedly. He instructed all of us I guess. After the first film appeared, he did his now famous interviews about Star Wars and, of course, told all of us, those of us doing the film, probably even George Lucas who created it, I think they were fascinated with each other, he pointed out to us that these connective links with mythology and shared memory even across cultures added force to the nostalgia and the revived recollections of past heroes, if you like, and all the villains and so on was some sort of fundamental part of our humanity and explained to us that what we thought was going to be a Saturday morning popcorn picture for kids, which I thought it would be at the least, was something that resonated with people around the world. You expect it to be a children's film, but it does so much more for all the reasons that Joseph Campbell was able to articulate to us. I'm sure he's right. And the resonance of the music also I think is part of that awakening that takes place in our psyches, in this cross-generational <laughs> wave of neurons that go through all of us, from generation to generation, where we remember things. And we clearly do. They're not our experience, but they're the experience of our collected past, Star Wars.

    Jo Reed: And there's something about music that just, I think, allows people to apprehend that on such a deep level. You know it almost without knowing.

    John Williams: It is fascinating. Leonard Bernstein spent his whole life, I think, trying to teach us that music is one thing. And, sure, there's great diversity in music, but there are universals in music that don't exist in language. Noam Chomsky and others will try to find them, and they get a grunt or a syllable shared by all the cultures. But, the music, that's divided in nature. A string is a string and it divides in half in an octave whether you're in Tibet or you're in New York City. So it's a shared language with our physiologies. It's part of how the ear works and the brain measures and the balance is attained in …

    Jo Reed: It resonates inside.

    John Williams: And resonates inside emotionally. So we use music for our birth and for our wedding and for our death and for our celebrations and for our wars and for our victories. And we don't understand. Least I don't. I don't think Bernstein ever articulated it. No one could do better than he. It is part of our humanity. We need it like we need to share language in the same way. And that's why it's so important that it's taught. Children who study music learn a different metric system. They learn to calculate things aurally, intervals and so on, do, re, mi's, giving special kind of instruction to the brain. And performance is a way of setting aside individuality. You sit in an orchestra, join a chorus. You cease to become an individual. Now you're part of a unit that performs in a very special way. So music performance is an important part of social interaction. Yeah, music is like breathing. Have a cliché. It's an important part of our human experience.

    Jo Reed: Well, we mentioned earlier your compositions for concerts. And you inaugurated the new Disney Hall in Los Angeles, and you also did an arrangement of Air and Simple Gifts for the inauguration. Talk about that.

    John Williams: The opportunity to participate in the inauguration of President Obama was certainly a special, great event in my life experience. The President very wisely selected Yo Yo Ma to play. The president asked Yo-Yo if he would put together a small group, three or four musicians only, to play something that would be four to five minutes long. And that Yo-Yo could select his colleagues, and he did. He selected fantastic group of musicians and rang me up and asked me if I could either write a piece, organize something that might be appropriate for that moment. Either the president told him himself or he heard that the president was particularly fond of Aaron Copland's music. And, of course, there's no Copland music for that combination of instruments in Copland's pretty vast canon. And what we know of Copland--most people, American audiences, will think of Appalachian Spring, the famous ballad that Copland wrote. Some of which has the wonderful old Shaker hymn Gift Be Simple in it. So I thought a combination of the Shaker Air, as a tribute to President Obama's affection for Aaron Copland, might be appropriate if I could combine it with some perhaps slightly hymnal idea that might express, in a very simple and not ostentatious way, the solemnity and beauty of the moment and the promise of the moment and put it together for actually a kind of esoteric combination of instruments, violin, cello, piano and clarinet

    Air and Simple Gifts…

    John Williams: So that was the result of this effort. And it brought me together with two of my favorite colleagues, Yo-Yo Ma and Itzhak Perlman, and two younger people that I hadn't known before that Yo-Yo selected.

    Jo Reed: Anthony McGuill and Gabriela Montero

    John Williams: And we were allowed the great once-in-a-lifetime privilege of participating in that event.

    Jo Reed: You have won many awards and now the National Medal of Arts, which is the highest award the nation gives to an artist. Can you just tell me what you thought when you won that award?

    John Williams: Well, I'm still a little bit numb about it, because it is so grand. And one can only think could anybody ever be deserving of such an honor. There's so many people who we could name that would be deserving. And I just feel, beyond being a little bit stunned about it, frankly, enormously grateful and very excited about it. And I think what it does for me is want me to be better, and I hope I have time to do that.

    Jo Reed: And I join you in that hope.

    John Williams: <laughs>

    Jo Reed: Thank you so much, John Williams. It was really a pleasure and a well-deserved honor. Thank you.

    John Williams: Thank you.

    Jo Reed: That was National Medal of arts recipient john Williams talking about his extraordinary career as a composer.

    You've been listening to Art Works, produced at the National Endowment for the Arts. Adam Kampe is the musical supervisor.

    Excerpts from the soundtracks to E.T. and JAWS used, courtesy of Universal Pictures. Excerpts from Star Wars and The Empire Strikes Back, used courtesy of Sony Music Entertainment. Excerpts from Close Encounters of the Third Kind, from the CD The Music of John Williams used courtesy of Silva Screen Records. Excerpts from Harry Potter and the Sorcerer's Stone, used courtesy of Warner Brothers. Excerpts from "Air and Simple Gifts," performed by Yo-Yo Ma, Itzhak Perlman, Gabriela Montero and Anthony McGill, used courtesy of Sony Music Entertainment.

    All the music has been composed and conducted by John Williams.

  8. #107
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    Close Encounters of the Third Kind: (John Williams) If not for the misfortune of being released later in the same year as George Lucas' Star Wars, Steven Spielberg's Close Encounters of the Third Kind may have resonated with the same kind of appeal in memory. While both films feature science fiction stories at their best, as well as wide-ranging Oscar nominations that both recognized John Williams' music, Close Encounters of the Third Kind is by far a more contemplative and, at times, quite scary alternative to alien introductions. The Spielberg story combined fears of alien kidnapping with the uncertainty of facing and communicating with a far superior species. While the suspense of the story dominates its first half, the actual military encounter with the aliens at the end is conducted successfully with the help of communication through lights, colors, and music. As such, Spielberg needed to identify a short musical motif early enough that he could use it during the production of the film's final half hour. While already yielding an Oscar win for the composer, the collaboration between Williams and Spielberg was still in its infancy, and Williams had to convince studio executives that he was far enough along with Star Wars to contribute his best to Close Encounters of the Third Kind. He sat down with Spielberg several times for the specific purpose of conjuring and agreeing upon the five-note greeting that humans would use to solicit a response from the aliens. Williams had the theme to "When You Wish Upon a Star" in mind from the start, and he would eventually weave that tune into the last minutes of his score, but despite Williams' request to be able to use seven or eight notes to form the greeting, Spielberg was steadfast in placing the five-note limit. After all, greetings are meant to be succinct and it's no coincidence that the word "hello" is five letters long. Williams ran through hundreds of permutations and neither man was satisfied with the results. After several sessions, Spielberg chose one out of frustration and, ironically, it was the successful and famous motif known to the world today.

    Although almost all of the attention given to the music for Close Encounters of the Third Kind involves that five-note motif (and to some degree, rightfully so... It makes such a dramatic impact in the story of the film), Williams' score for the picture is far more complex than that. While Star Wars was a straight forward space opera from start to finish, Close Encounters of the Third Kind is a score with three distinct parts. The first act of the story offers lengthy sequences of atonal and dissonant passages that accompany the kidnapping and mysterious hints of an alien presence. The middle portions of the score alternate between this restrained sound and explosive action cues that would foreshadow rhythmic, orchestral harmony to come in Raiders of the Lost Ark and E.T. The Extra-Terrestrial. The final third of the score, opened by the famous communication sequence, is where the familiar harmonic melodies of Williams career flourish. The five-note communication motif isn't actually the title theme for the picture. Williams allows the wonder of the aliens to inspire the true title theme, and that idea takes quite some time to announce itself. Alternately representing Devil's Tower (the majestic mountain at which the aliens are to be received), this theme first forms cohesion with the help of a choir in "Forming the Mountain" and especially "TV Reveals." As Richard Dreyfuss' character (Roy) sculpts the peak from memory and finally learns of the name and location of the mountain, Williams unleashes a grand crescendo of harmony with the choir in the latter cue. The lush romanticism that defines this theme is first provided in "The Mountain," as the film switches to its final location. Audiences will most likely recall this theme's lengthy, flowing performances after the alien exchange, for the theme and its concert arrangement occupies the finale and closing titles. While the arrangement that Williams' takes with him on concert tours gives a distinct nod to the five-note communication motif, most of its running time is devoted to the primary theme.

    In the end, Close Encounters of the Third Kind may have been overshadowed by Star Wars and Superman in an incredible 18-month time span for Williams, but the score still stands on its own as one of Williams better known. When the United States government included the five-note communication motif as one of the welcoming messages it transmits in the direction of distant worlds, the score's status was confirmed.

  9. #108
    Senior Member Diamond Hubber sakaLAKALAKAlaa Vallavar's Avatar
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    இங்கே பதியவேண்டும் என்று எனக்கு அடிக்கடி தோன்றும் ஒரு விஷயம், இசைப்புயல் ரஹ்மான், வெவ்வேறு காலகட்டங்களில் ராஜாவை புகழ்ந்து சொன்னது பலது இருக்கும், எனக்கு மூன்று விஷயங்கள் தோன்றும்

    1) "இசைத்துறையில் நுழைந்த புதிதில், பெரும்பாலான கலைஞர்களும் குடித்துவிட்டு மது மாது என இருப்பார்கள். ஆனால் ராஜா சார் மட்டும் ஒழுக்கத்தின் உருவமாக இருப்பார், அவர் எனக்கு இதில் பெரு உதாரணம்"

    2) "நான் ஒரு வருடத்திற்கு ஐந்து படங்கள் தான் பண்ணுறேன், அவன் என்னங்க, ஒரு வருஷத்துக்கு நாப்பது படம் பண்ணுகிறார்!"

    3) ரஹ்மான் கோடிக்கணக்கில் சம்பளம் வாங்க தொடங்கி இருந்த நேரம், "என்ன சார் கோடிகளில் இருக்காமே உங்க சம்பளம்?" என ஒரு நிருபர் கேட்டபோது ரஹ்மான், அவராகவே ராஜா சர் பத்தி சொன்னார் -> "ராஜா சார் எல்லாம் நியாயமான சம்பளம் வாங்கி இருந்தா தமிழ்நாட்டையே வாங்கி இருப்பார். ஆனால் எங்க காலத்தில் தான் நியாயமான சம்பளம் வாங்க முடிகிறது"

    இந்த மூன்றுமே முக்கியமான விஷயங்கள். முதல் விஷயத்தில் ரஹ்மான், ராஜாவின் தனிமனித ஒழுக்கத்தை பற்றி சொல்கிறார், இது பொதுவாக அனைவரும் அறிந்தது தான் என்றாலும் கிட்டத்தட்ட யாருமே சொல்லாதது, எனவே இந்த பாராட்டு அந்த வகையில் முக்கியத்துவம் பெறுகிறது.

    இரண்டாவது, அவர் மறைமுகமாக, ராஜாவின் வேகத்தை பாராட்டுகிறார்.

    மூன்றாவது, மிக முக்கியமானது. தமிழ்நாட்டை விட்டுவிடுங்கள். ஒரு பேச்சுக்கு, ராஜா இசையமைத்த ஒட்டுமொத்த படங்களுக்கு சன்மானமாக, ஒரு பேச்சுக்கு அவர் சேர்த்த சொத்து கிட்டத்தட்ட சென்னையில் கோடம்பாக்கம் அல்லது நுங்கம்பாக்கம் போன்ற ஒரு ஏரியாவின் ஒட்டுமொத்த நிலத்தின் உரிமையாளர் என்று வைத்துக்கொண்டால் எத்தனை கோடானுகோடிகள் வரும் என்பதை எண்ணிப்பார்த்தால், ரஹ்மான் சொன்ன பாராட்டின் மகத்துவம் புரியும். ராஜா ரொம்பப்பெரிய சம்பளம் எல்லாம் வாங்கியதோ, அல்லது பணத்துக்கு ஆசைப்பட்டு (அதில் தவறேதுமில்லை) வெளிநாட்டு நிகழ்சிகள் போன்றவை எல்லாம் செய்வதில்லை. பணத்தை முன்வைத்து அவர் எதையுமே செய்வதில்லை. இன்று கூட அவர் பாடல்களை Box Sets ஆக போட்டால் நல்ல விற்பனை இருக்கும், ஆனால் அவர் இதையெல்லாம் நினைத்தே பார்ப்பதில்லை. இன்று ராஜா சேர்த்திருக்கும் சொத்து என்று எதாச்சும் இருந்தால், அன்றைய காலகட்டத்தில் நில மதிப்பு குறைவாக இருந்த பொது வாங்கிப்போட்ட வீடும், பல நூறு படங்களுக்கு இசையமைத்து சிறுக சிறுக சேர்த்த செல்வம் மட்டுமே. ஆனால் நிஜத்தில் அதற்கும், அவரது இசைக்கும் சம்மந்தமே இல்லை.

    ஏன் இந்த பதிவு என்றால், ஒரு வகையில் நாம் ரஹ்மானுக்கு கடமைப்பட்டவர்கள் என்று கூட சொல்லலாம். ராஜாவிற்கு அவர் தந்துள்ள இந்த மூன்று பாராட்டுக்களுமே முக்கியமானது
    Vishwaroopam is a 220+ Crores Record breaking Blockbuster!
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    Uttama Villain Reviews Collection - http://goo.gl/MSBVxv

  10. #109
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    ‘Composing music is not a job
    for me’

    http://www.deccanherald.com/content/...ot-job-me.html

    thanks,

    Krishnan

  11. #110
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    karlkalyan,

    Thanks for posting the stuff on John Williams. Almost everyone here appreciates his work. Having said that, it would be appropriate if you post this info in the relevant thread in forumhub. I am sure there will be some place to post about international composers. Let's keep this thread for Raja's titbits.

    Thanks for the understanding.

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