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“Spotlight on John Williams”: Interview with conductor Kevin Griffiths

English-born conductor Kevin Griffiths talks about Spotlight on John Williams, the debut album of the City Light Symphony Orchestra featuring a selection of John Williams’ film music masterworks

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Maurizio Caschetto Conductors, Interviews, Orchestras, Podcast, Recordings April 9, 2021April 10, 2021 6 Minutes

Legacy Conversations: Kevin Puts

Acclaimed contemporary classical composer talks his career and his cinematic music for the concert hall, including the Pulitzer Prize-winning opera Silent Night, his approach to composition and how much John Williams’ music touched him since childhood and inspired him to become a composer

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Maurizio Caschetto Composers, Legacy Conversations, People, Podcast March 22, 2021March 22, 2021 6 Minutes

Legacy Conversations Video Series Ep.1: “Growing Up With John Williams”

The Legacy of John Williams editor Maurizio Caschetto and contributor Gianmaria Caschetto talk with UnderScore podcast hosts Will & Marty Brueggemann about growing up as brothers listening to the music of John Williams

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Maurizio Caschetto Insights & Analysis, Podcast, Video March 5, 2021March 5, 2021 3 Minutes

Legacy Conversations: Ann Hobson Pilot

Legendary harpist talks her distinguished career as former Principal Harp for the Boston Symphony Orchestra and the Boston Pops, including the many collaborations with John Williams and the premiere of the Harp Concerto On Willows and Birches, composed for her by the Maestro in 2009

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Maurizio Caschetto Legacy Conversations, Musicians, People, Podcast February 22, 2021February 22, 2021 9 Minutes

L.A. Studio Legends: Sheridon Stokes

Legendary flutist talks his distinguished career as studio musician in Hollywood, from his early days performing under Alfred Newman at 20th Century Fox to his many collaborations with John Williams as principal flute, including his solos in such scores as Jaws, E.T. The Extra-Terrestrial and The Witches of Eastwick, as well as the premiere of the Flute Concerto

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Maurizio Caschetto L.A. Studio Legends, Musicians, People, Podcast 1 Comment January 18, 2021June 5, 2021 7 Minutes

L.A. Studio Legends: Dan Higgins

Legendary saxophonist and woodwind specialist talks his career as studio musician in Los Angeles, from his early days as session player to his collaborations with Maestro John Williams, including the stunning alto saxophone solos he performed on the score for Steven Spielberg’s 2002 film Catch Me If You Can

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Maurizio Caschetto L.A. Studio Legends, Musicians, People, Podcast, The Spielberg/Williams Collaboration January 8, 2021January 13, 2021 9 Minutes

L.A. Studio Legends: Dylan Hart

French Horn player extraordinaire talks his life and career as studio musician in Hollywood and his many collaborations with John Williams, including his work as Principal Horn on The Post and the recent Star Wars sequels The Last Jedi and The Rise of Skywalker, sharing his views on the Maestro’s music

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Maurizio Caschetto L.A. Studio Legends, Musicians, People, Podcast December 18, 2020December 18, 2020 6 Minutes

Legacy Conversations: Tim Morrison

Legendary trumpeteer talks his illustrious career as former Associate Principal Trumpet of the Boston Symphony Orchestra / Principal Trumpet of the Boston Pops and his subsequent life as studio musician in Los Angeles, including his many collaborations with John Williams as soloist on such scores as Born On The Fourth of July, JFK, Nixon and Saving Private Ryan

Hosted by Maurizio Caschetto and Tim Burden

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Maurizio Caschetto Legacy Conversations, Musicians, People, Podcast November 27, 2020June 25, 2021 10 Minutes

L.A. Studio Legends: Jim Self

Legendary tuba player talks his 40+ years career as studio musician in Los Angeles and his collaborations with John Williams, including the “Voice of the Mothership” solo in Close Encounters of the Third Kind and his work on Home Alone, Hook and Jurassic Park

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Maurizio Caschetto L.A. Studio Legends, Musicians, People, Podcast 1 Comment November 10, 2020November 10, 2020 8 Minutes

L.A. Studio Legends: James Thatcher

Legendary French Horn player talks his distinguished career as studio musician in Hollywood and his many collaborations with John Williams as Principal Horn since 1989, including such film scores as Always, JFK, Jurassic Park, Sleepers, and The Patriot

Hosted by Maurizio Caschetto and Tim Burden

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Maurizio Caschetto L.A. Studio Legends, Musicians, People, Podcast 2 Comments October 23, 2020October 23, 2020 7 Minutes

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The Legacy of John Williams Podcast: Latest Episodes

L.A. Studio Legends #13: Mike Lang
Legacy Conversations: Sarah Willis
Legacy Conversations: Emilio Audissino
Top of the World: Mike Matessino Talks 'The Eiger Sanction'
L.A. Studio Legends #12: Stephen Erdody

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🔴 COMING DECEMBER 3! 🔉

NOW AVAILABLE at La-La Land Records📣WATCH The Exclusive Trailer 📺

@lalalandrecords announces a massive new John Williams release: FIDDLER ON THE ROOF - 50th ANNIVERSARY EDITION!

📣 JOHN WILLIAMS WRITES LINER NOTES FOR STEVEN SPIELBERG'S "WEST SIDE STORY" ORIGINAL SOUNDTRACK ALBUM

The Legacy of John Williams joins the world in mourning the passing of genius composer and lyricist Stephen Sondheim, who died two days ago at the age of 91. He graced the world with some of the best musicals ever written (West Side Story, Sweeney Todd, A Little Night Music, Follies, Into the Woods) and truly revolutionised the form with his unparalled talent as a composer and dramatist.

“One of the things I have felt, rightly or not, was that these tunes or themes or leitmotifs in film at least need to be pretty—not accessible, but succinct. Eighty or ninety per cent of the attention is focused elsewhere. The music has to cut through this noise of effects. So, O.K., it’s going to be tonal. It’s going to be D major. The tunes need to speak probably in a matter of seconds —five or six seconds. [...] What I can tell you is that these genuine, simple tunes are the hardest things to uncover, for any composer. When Elgar or Beethoven finally finds one—I hope you’ll pardon me if it sounds like I’m comparing myself to these people, but it might illustrate the point—in both cases, they understood what they had. Things that may seem more interesting, more harmonically attractive, don’t quite do the job. And so you end up—as a film composer, at least—not always doing what you initially set out to do. People assume it’s what you wanted to write, but it’s what you needed to write.”

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