Reflecting on the differences, the similarities and the conjuctions between the two “score masters” of the modern era of film scoring: John Williams and Jerry Goldsmith.
The Legacy of John Williams is proud to present an essay by distinguished Italian film critic, film music historian and university professor Roberto Pugliese dedicated to the art and the legacy of the legendary composers in conjuction with today’s premiere of Score Masters: Celebrating John Williams and Jerry Goldsmith, an online event co-produced by The Legacy of John Williams, The Goldsmith Odyssey and the Ipswich Film Theatre.
A chronological overview of the Maestro’s early works for the concert hall in the 1960s and 1970s, including his almost-unknown Symphony No. 1
by Maurizio Caschetto
The term “film composer” might be useful when referring to the work and career of John Williams. But, in his case, it would be also extremely reductive. While it’s true that the Maestro dedicated much of his artistic life to work for the Hollywood film industry, he has always showed a great deal of versatility, typical of musicians who don’t limit themselves just to one single area. Pianist, jazzman, arranger and, in the end, composer of works for films and the concert stage, Williams diversified his artistic output since the early days of his professional career, exploring different sides of his musical personality. Looking at him this way, it can be said without being proven wrong that he perfectly embodies the creative breadth of the 20th century composer and musician.