Cinema : Sound – James Newton Howard in Concert (2025)

CINEMA : SOUND – JAMES NEWTON HOWARD IN CONCERT
Music composed and conducted by James Newton Howard
Performed by the Wiener Symphoniker and the Wiener Singverein
Special guest violinist: James Ehnes
Special guest pianist: Randy Kerber
Soprano soloist: Isabella Schwerer
Choir director: Johannes Prinz
Produced by Tomek Productions
May 20, 2025
Musikverein Wien
Vienna, Austria

PART 1: THIRD TIME’S A CHARM

After two failed attempts at seeing James Newton Howard (JNH) in concert, I can now happily say that I have finally had the pleasure of seeing him conduct and perform live.

PART 2: JNH’S GREATEST HITS

Part of the “Cinema: Sound” series produced by Tomek Productions, JAMES NEWTON HOWARD IN CONCERT was a night of JNH’s greatest hits performed by the Wiener Symphoniker and the Wiener Singverein.

Special guest soloists also performed including famed classical violinist James Ehnes and prolific Hollywood studio pianist Randy Kerber. 

As you can see from the above setlist, the majority of JNH’s most popular film scores were performed. Some obvious fan favourites like DINOSAUR, THE FUGITIVE, and BATMAN BEGINS/THE DARK KNIGHT were missing, while I personally would have loved if he had performed selections from FLATLINERS, FALLING DOWN, ALIVE and DYING YOUNG.

Another hour (or indeed a second concert!) was really needed to do JNH’s legendary ouevre justice, but what we did get was still pretty damn good.

PART 3: THE FIRST HALF

JNH graced the stage of the opulent Musikverein Wien to boisterous and sustained applause.

Genuinely surprised by such a warm welcome from the audience, I could see him voicing a “wow” which was completely inaudible as the sound of applause was so deafening.

When the applause finally settled, JNH made some quick opening remarks and then got straight to business with a fabulous suite of music from two Disney animations: TREASURE PLANET and ATLANTIS: THE LOST EMPIRE.

TREASURE PLANET had a warm Americana sound with swashbuckling adventure music to highlight the action and heroic elements of the film.

The suite ended with a short but exquisite piece from ATLANTIS: THE LOST EMPIRE.  It was actually the piece that I had hoped they would play, so I was over the moon when I immediately recognized the opening bars of the final track (“Atlantis”) from the original soundtrack album.  It’s such a lovely theme that perfectly bookends the film with its touching opening and soaring climax.

I am embarrassed to say that I never really gave SNOW WHITE & THE HUNTSMAN a proper listen before the concert, but as soon as that striking and solitary French horn line opened the piece (“Snow White” on the original soundtrack album), I was immediately hooked.

It then moved to some trademark JNH suspense music followed by the gradual reveal of the main theme that soon swelled with epic glory.

The mood immediately changed with the blistering “Escape from the Tower,” which one could easily mistake for some of the ferocious battle music in THE LORD OF THE RINGS scores. The music here was choppy, frantic, and accompanied by a gothic choir that was chanting like its life depended on it.

The gentle, proud-sounding “Coronation” ended the suite, acting as a welcome respite from the ferocity of the previous piece. And as with the original soundtrack album, it ended with a reprise of the opening theme and a rousing climax.

As John Barry is my all-time favourite composer, it had always been hard for me to fully appreciate JNH’s music for THE PRINCE OF TIDES knowing that it had replaced Barry’s. But after last night’s performance, I finally realized how good of a theme it really is.

It was impossible to not be bowled over by its epic sweep and old-fashioned romanticism. It really is one of JNH’s best romantic themes which makes it all the more unfortunate that he hasn’t had more opportunities to dabble in this genre.

MALEFICENT was another score that I had overlooked because of the film that it is attached to. This was of course a big mistake because as it turns out, the score is tremendous.

The film is about a fairy named Maleficent that loses her way through vengeance then later finds redemption. The suite performed highlighted the music for her pure and innocent youth, followed by some gorgeous flying music as she darts about her home beyond the woods.  This piece featured a short, but lovely soprano solo by Isabella Schwerer, as well as some heavenly Enya-like cooing by the choir.

The suite ended with the lovely “The Queen of Faerieland,” a piece highlighting Malificent’s change of heart and path to redemption.  Here, the orchestra and choir soared for the most perfect fairytale ending you’ll ever hear… but not without a short and cheeky reprise of Malificent’s “evil” theme in brisk waltz-time to end the piece with a bang!

I’m sure I wasn’t the only one in the audience who had been waiting all evening to hear the orchestra’s performance of the music from SIGNS, and boy, did it knock our socks off.

Opening with the iconic “Hand of Fate: Part I,” the orchestra immediately let out a bang, giving way to cautious strings as flutes repeated a four-note melody and the tension slowly started to ratchet up.

Before the tension became unbearable, a new three-note theme appeared and was played in turn with furious urgency by each part of the orchestra.  The music then returned to the calm of the piano and the warm but momentary embrace of the strings.

The tension then resurfaced with strings chopping away, leading to my favourite part of the piece with the strings wildly driving forward and the brass pounding away with a deep feeling of malice and danger.

THAT gloriously heroic theme on strings finally made its entrance and soared like there was no tomorrow, making us feel as if we were in that living room with the film’s protagonists, brave and ready to take on that alien.

The danger returned before the music rose again as Merrill (played in the film by Joaquin Phoenix) does what he was destined to do: take out the alien and save everyone from certain doom.

Feelings of resolution and relief filled the auditorium as we were treated to a spine-tingling performance of “Hand of Fate: Part II.” I had been waiting to hear the music that underscores the scene that Mel Gibson’s character finds his faith again and can be seen putting on clerical clothing.  The moment the French horn comes in and plays that short but resolute theme just melts my heart every time – it’s such a perfect piece that speaks volumes about the character, what he has been through and what he will do next.

SNOW FALLING ON CEDARS was represented with the track “Tarawa” from the original soundtrack album. 

It opened with the choir softly singing a melody drenched in mystery. The mood immediately shifted a few notches as the might of the Wiener Singverein choir ripped through the auditorium with a theme full of malice and doom. It was such an impressive piece to hear live that it led me to play this track as soon as I got back to my hotel after the concert!

JNH explained that any composer “worth their salt” could compose for a western. With that in mind, he immediately showcased his writing chops in the genre with a rip-roaring performance of a suite of music from his score to WYATT EARP. The brass section was a particular standout here, giving the main theme the perfect amount of nobility and muscle.

PART 4: THE SECOND HALF 

I came back to my seat at the end of the intermission to find a huge Steinway parked centre stage right in front of me.

While I could still see JNH from the waist up, I did feel sorry for those unfortunate souls seated in the first row: all they could see were his legs from the knees down.

It was now time for music from THE HUNGER GAMES to shine. During the rehearsal that I had attended the day before the concert, JNH had actually performed the opening of the piece himself at the piano. However, after a bit of discussion he decided that it was best for Randy Kerber to perform the opening instead. JNH said he felt uncomfortable about needing to perform and conduct at the same time, and even removed the “fermata” (as someone with a non-music background, I had to google what it meant!) that he had inserted into the piece to give him time to comfortably get back to the podium to conduct.

Kerber, who JNH referred to as an A-list studio musician and dear friend of many years, opened the suite with a delicate performance of a piano arrangement of the acoustic guitar piece found in “Rue’s Farewell.” This was followed by what I refer to as the “Resistance Theme,” the music that plays after Rue dies. This somber, but ultimately inspiring piece underscores the scene where Rue’s district mourns her loss and then takes it upon themselves to rise against their oppressors. With the choir backing the orchestra with solemn solidarity, it was a deeply stirring piece.

“Horn of Plenty,” a non-JNH composed piece that is featured throughout the film series, came next. With its militaristic percussion and strong feelings of pride and duty, it sounded tremendous, especially with the choir chanting powerfully along in the background.

Celebrated violinist James Ehnes then graced the stage for a stunning performance of “The Gravel Road” from THE VILLAGE. My first time seeing him perform live, I was immediately taken aback by his masterful command of the violin.  How he played looked so effortless, yet the sound he produced had so much depth and clarity. And with Kerber and the orchestra accompanying him, you just couldn’t help but be spellbound by this incredible piece and its performance.

Despite JNH not introducing the music by name, a fantastic suite of music from KING KONG came next.  

The reflective “Central Park” came first, followed by a wildly satisfying performance of the ferocious action music of “Captured.” With the brass and percussion powering forward, the piece kept building and building to a sensational climax.

Ehnes returned to the stage for a gorgeous performance of the music from A HIDDEN LIFE. As I hadn’t paid the music enough attention prior to the concert, I was pleasantly surprised to discover the exquisite beauty of the main theme and its ability to sound simple yet contain deeply complex emotions.  Kerber and the concert master also featured during the piece to give it extra weight and gravitas.

Then came what I had been personally waiting to hear all night: “Flow Like Water” from THE LAST AIRBENDER. Described by JNH as having “religioso” elements to it, it was a real showstopper that left many in the audience stunned by the emotional knockout it delivered.

There really aren’t enough superlatives to describe this musical masterpiece – it pulls you up when you’re down, lifts you up when you’re already on high, and makes you thank the stars that you’re alive to hear music of such immense calibre.

Opening with slowly moving violas to represent the trickle of water, the mood soon changed with the arrival of the French horns playing a theme full of strength and confidence. Strings then cascaded up and down in anticipation of a grand statement of the main theme.

The orchestra continued to build until it finally exploded with a rapturous performance of the main theme in all its triumphant glory.

But the piece wasn’t over yet as it then transitioned to music speaking of resolution and a destiny fulfilled. This was then followed by the thunderous entrance of the taiko drums to mark the beginning of some enormously epic action music and a killer climax that truly brought the house down.

I only wish this music had been attached to a film worthy of its greatness.

JNH then took to the microphone to introduce his “Rom-Com” suite which included music from DAVE (which wasn’t listed on the program), PRETTY WOMAN, and MY BEST FRIEND’S WEDDING.

To the surprise of all, JNH sat down at the piano to play the catchy main theme from DAVE. It instantly made me recall the classic Kevin Kline film which I will definitely give a revisit soon!

The charming “He Sleeps” from PRETTY WOMAN came next, followed by some exciting orchestral chase music (“The Garden Chase” on the For Your Consideration promo disc above) from MY BEST FRIEND’S WEDDING.

For the final piece of the concert, JNH had saved the very best for last: a rapturous suite of music from FANTASTIC BEASTS AND WHERE TO FIND THEM. 

I was an emotional mess when the suite opened with Kerber on solo piano for the deeply touching “Newt Says Goodbye to Tina.”  Then instead of segueing into the whimsical old Jazz theme for Jacob like on the original soundtrack album, the orchestra moved to a stunning performance of “Newt releases the Thunderbird.” A soaring piece full of joy and excitement, I had nothing but feels when an epic statement of the Newt/Tina theme made its entrance.

There really was no better way to end the main program.

PART 5: ENCORES

After a lengthy standing ovation and exit from the stage, JNH was beckoned back for one of two encores.

First was a suite from JUNGLE CRUISE, a score that JNH finished recording days before pandemic lockdowns turned the world upside down. While not a top-tier JNH score, it was fun suite full of energy and a strong sense of adventure.

(Personally, I would have preferred the “The Egg Travels” from DINOSAUR as an encore as it’s such an iconic and crowd-pleasing piece. Maybe next time?)

After multiple standing ovations and exits from the stage, JNH returned one last time for a final encore.  As there was “no more music left to perform,” JNH treated us to one final solo performance at the piano.  

Without naming what he would be playing, he proceeded to play a bluesy piece that had some virtuosic parts in the beginning and end.  

It was an interesting piece that served to remind us of his immense skills as not only a composer, but also a pianist – he did after all tour as Elton John’s keyboardist back in the day!

After another lengthy standing ovation, JNH was now overcome with emotion as he placed both hands over his face to help hold back those tears.

And with that he left the stage for the very last time, capping off a truly magical night of his very best film music.

PART 6: PRE-CONCERT VIP EVENT

MEET-AND-GREET

When the concert was first announced, a special VIP package was also on offer.  For 129 euro (the concert ticket was a separate cost), you were invited to a special meet-and-greet with JNH at the Hotel Imperial Vienna one day before the concert.

At this event you were given a large concert poster (which was not sold at the concert venue the day of the concert) and a complimentary concert program.

You of course had the opportunity to get autographs and a picture with JNH too:

After asking me if I was French (non!), JNH graciously signed my CD jackets for NIGHT AFTER NIGHT, FALLING DOWN and BATMAN BEGINS.  I got him to sign BATMAN BEGINS as I (naively) hope to someday have Hans Zimmer sign it too*… like for example at the concert he is holding in Japan this weekend for which I have tickets!! 

* I know, I know – it’s impossible. It’s easier to meet the Pope these days than it is to meet Hans Zimmer! 

PRE-CONCERT REHEARSAL

As part of the VIP package we were also given an opportunity to attend a rehearsal with the orchestra and choir.

My first ever rehearsal, it was quite the experience! 

PART 7: THE NEXT CONCERT

Scottish film composer Patrick Doyle has been chosen for the next concert in the Cinema: Sound series which will be taking place on January 28, 2026 at the same venue.

If his last Glasgow concert is any indication of what to expect, then you are most definitely in for a treat!  So by all means go and get the VIP package if they offer it again – I promise you will not regret it!

PART 8: OVER TO YOU

Did you also go to this concert? How did you like it?

And what did you think of my report?  Feel free to comment below or reach out to me directly in the “Contact Me” section.