John Williams conducted the Los Angeles Philharmonic during three weekend concerts at the Hollywood Bowl. It was, as always, hugely entertaining, with the maestro doing considerable Star Wars music and introducing a new suite of music from The BFG. Then in just a few days, he’ll be honored on Turner Classic Movies with a night of his movies plus two terrific American Film Institute specials: a commercial-free version of the Life Achievement Award dinner from earlier this year, and his conversation with Steven Spielberg that first aired in 2011. Here is a look at both events.
Mission: Impossible composer Lalo Schifrin says he’s given up scoring movies (maybe!) but, at 84, he is still writing potent music for the classical world. His new guitar concerto, his second for renowned soloist Angel Romero, will debut Tuesday night at the Hollywood Bowl (with Gustavo Dudamel conducting the Los Angeles Philharmonic). In this piece for the Los Angeles Times, I interviewed the five-time Grammy winner about his concerto, about writing for films vs. the concert hall, and about the enduring legacy of a 1966 TV theme that remains his most famous work. (I also talked to Romero, who laughed and said Schifrin’s guitar writing was “diabolical” — as in difficult.)
Last weekend marked the first time that the paying public had ever seen Steven Spielberg’s classic E.T., The Extra-Terrestrial with live musical accompaniment. (John Williams conducted a studio orchestra before an invited audience at the Shrine Auditorium in 2002.) More than 35,000 attended over three nights as David Newman conducted the Los Angeles Philharmonic in Williams’ iconic score at the Hollywood Bowl. I wrote the program notes for the evening, but I felt it was also important to report on the event. My overview contains details you won’t find anywhere else.
Talk about a fun assignment: Last night, the Los Angeles Philharmonic played Alan Silvestri’s music for the 1985 film Back to the Future “live to picture,” with the estimable David Newman conducting. It was a near-sellout with more than 16,000 people attending, and the crowd cheered every iconic moment in the time-travel romp starring Michael J. Fox. I interviewed the composer about his memories of scoring Back to the Future — which was only his second opportunity to write for orchestra — and why he wrote another 20 minutes of music specifically for these live presentations.
This was among the few film- and TV-music nights at the Bowl this summer I was not involved with, even peripherally. So we got to go and just enjoy. Here’s a recap with a little more musical detail than you will find in most reviews of the weekend celebration.
It’s been a pleasure to write scripts not only for myself — both for radio and live concert appearances — but for others, especially at the Hollywood Bowl in recent years, often for their “Big Picture” nights when the Hollywood Bowl Orchestra performs movie music. This year I wrote three: for an evening of music from Alfred Hitchcock films, hosted by Eva Marie Saint (who was delightful to work with); for the Motion Picture Academy’s celebration of the “Black Movie Soundtrack”; and a last-minute polish for Jack Black’s hosting of music from DreamWorks Animation. Here find reviews of the Hitchcock show; of the Black Soundtrack evening, hosted by Craig Robinson; and of the DreamWorks bash. I often write the program notes too.