So it was especially delightful to see so many young people of all ages at Lighthouse Poole, clearly enjoying two hours of modern classics.
This might have had much to do with a certain young wizard but nevertheless it was evening they are unlikely to forget in a hurry.
Not least the 30 pupils from St Michael’s Middle in Colehill, all members of the school’s own orchestra, including beginners.
Head of Music, Stephanie Martin-Papp said: “Most have never been to anything like this before. It is a very special evening.”
Indeed it was.
The music of John Williams, unique, epic and emotional, has a been part of our lives and experiences for more six decades. We’ve grown up with it.
It brings back memories, some always there and some below the surface – no shark pun intended.
We have been, and continue to be, invested in it – musicians every bit as much as audience.
From Close Encounters through Jaws, Raiders of the Lost Ark, Star Wars, Saving Private Ryan, JFK, Hook, Jurassic Park Schindler’s List to Harry Potter and so much more, the composer has bestrode popular culture as a colossus, working much of the time with Steven Spielberg – quiet possibly the greatest cinematic partnership.
Williams’ music has been described as a symphony orchestra’s dream come true, with leitmotifs, grand orchestrations of sweeping strings, big bold brass (especially to portray heroes) and intricate woodwind and with emotional depth that is never forgotten.
It is impossible to imagine the films without the scores and listening to the music away from the screen is a reminder of just how powerful, evocative and emotionally charged in so many ways they are.
The genius of Williams’ work has so many levels but especially his ability to compose the most incredible rousing marches and anthems at one end of the scale and the sheer beauty of JFK, The Hymn to the Fallen and most of all Schindler’s List (surely the most emotion piece ever scored for film) at the other.
The ever-popular and engaging conductor Harrison, always the man for these occasions, came on stage wearing a jaunty red waistcoast and with an even jauntier spring in his step.
He spoke of Williams’ life and music and how he had brought back the full symphony orchestra to the world of the movie soundtrack in the 1970s.
This was truly an evening of high emotion, treasured memories (over a lifetime for some) and an appreciation for young and old, one and all, of true genius.
Maestro and musicians were cheered to the rafters at the beginning and the end.
And as Harrison said as he wrapped things with the greatest flying theme, ET, he said: “There is nothing quite like the sight and sound of a full symphony orchestra is there?”
Andy Martin
Bournemouth Symphony Orchestra
Blockbusters, John Williams
Lighthouse Poole