Conductor: Stephen Bell
In his opening remarks tonight, conductor Stephen Bell asserts that John Williams is the greatest film 
composer of all time. Given Williams’ 54 Oscar nominations (with five wins) – a number of nominations surpassed only by Walt Disney – and with those nominations spanning seven consecutive decades, it’s difficult to contest this claim. Bell acknowledges that curating an evening dedicated to Williams’ best work involves making challenging choices about what to include and exclude. This selection process also encompasses Williams’ compositions beyond the silver screen, such as his Olympic Fanfare and Theme, composed for the 1984 Los Angeles Olympics.
So what do you include? Given Williams’ long association with composer Steven Spielberg, surely there must be some from his films? And we must hear some Oscar winners, too, perhaps? And, besides the obvious choices, there must be room for some perhaps lesser-known pieces? Bell has done exactly this to produce a well-balanced programme celebrating the great man’s works.
One immediately notices the variety of styles employed by Williams to complement different films. For instance, martial themes from Star Wars are juxtaposed with the delicate Theme from Schindler’s List. The Eastern influence is evident in Sayuri’s Theme from Memoirs of a Geisha, characterized by flute and harp, while Williams’ background as a jazz pianist informs the jazz-inspired soundtrack to Catch Me If You Can.
Listening to this music in isolation allows for a fuller appreciation of its orchestration, especially within Symphony Hall’s acoustically refined environment. Every instrument can be distinctly heard, from the pounding timpani to the tinkling glockenspiel. Such is Spielberg’s range that Symphony Hall is packed with all age groups represented – the quiet breathy cheer audible when Bell announces pieces from Harry Potter is quite heartwarming, demonstrating the wide-ranging appeal of Williams’ work. Nimbus 2000 places woodwinds at the forefront, alongside the familiar celeste part in Hedwig’s Theme.
The concert commences with Raiders March from Raiders of the Lost Ark, featuring a compelling mix of brass and rippling strings. Bell conducts with precision and authority, his demeanour driving the mood of the music as he guides the City of Birmingham Symphony Orchestra (CBSO) through a series of dynamic performances. Eugene Tzikindelean, the orchestra’s leader, delivers a haunting rendition of the Theme from Schindler’s List, which contrasts with the jazzy quartet performance of Escapades from Catch Me If You Can, featuring Adrian Spillet on vibraphone, Oliver Janes on saxophone, and Julian Atkinson on double bass.
Williams’ compositions often build to powerful climaxes, such as the soaring Flying Theme from E.T. – The Extra-Terrestrial and the foreboding Shark Theme from Jaws. Hymn to the Fallen from Saving Private Ryan adds a reverent and moving segment to the programme. The concert could not be complete, of course, without the stentorian sounds of the iconic Imperial March from Star Wars, capturing Williams’ signature style.
Under Bell’s baton, the CBSO performs cohesively, with themes emerging seamlessly from the stage to envelop the audience. While this reviewer did perceive a couple of minor instances of hesitance in the brass section, these did not detract from the performance’s overall. And the audience certainly left into the wintry night smiling.
Reviewed on 21 February 2025
