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Preferably, cinema soundtracks didn't resonate with me much.

Cinema composer John Williams downplays his contributions, stating that his works were merely opportunities he took on.

"I've always had a preference for movies without soundtracks"
"I've always had a preference for movies without soundtracks"

Preferably, cinema soundtracks didn't resonate with me much.

In the illustrious world of film music, few names resonate as profoundly as that of John Williams. At 93 years old, the legendary composer continues to challenge conventions, expressing his critical views towards film music in a new biography.

Williams, renowned for his work on cinematic triumphs like Star Wars, E.T., Jurassic Park, Indiana Jones, and Harry Potter, sees the notion that film music should have the same place in the concert hall as the most significant works of the classical canon as flawed. He views much of his work as merely professional assignments or opportunities that came along.

Despite his critical views, Williams' legacy is being celebrated anew in concerts. In October, London will host John Williams Reimagined, featuring newly arranged versions of his most famous works. The new arrangements were created by Rick Strachan, and the program for piano, cello, and flute from this concert will also be released as an album.

Williams, who has won five Oscars and holds the record for the most nominations (54) among living filmmakers, has spoken critically about film music. He believes many film scores are fragmentary and only convincing in individual moments. However, he also acknowledges that he has elevated film music to a high art form, viewing it as functional, fast, and pragmatic.

Williams' collaboration with Steven Spielberg is particularly significant to him. Spielberg brought a deeper musical education to the table, and together they created classics like Jaws, Schindler's List, and Saving Private Ryan. Williams has conducted renowned orchestras like the Boston Pops, earning him great respect in the classical music scene.

Biographer Tim Greiving finds Williams' criticism of film music surprising, but not because of false modesty or coyness. Instead, it reflects Williams' deep appreciation for the classical music he has dedicated himself to, writing concertos, fanfares, and other works for the concert hall.

Despite his critical views, Williams expresses joy over the musicians expanding and enriching his music in John Williams Reimagined. This celebration of his work serves as a testament to his enduring influence on the world of film music.

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