JOHN WILLIAMS TRIBUTE SPECIAL CONCERT WITH KEITH LOCKHART
Music composed by John Williams
Music conducted by Keith Lockhart
Performed by Orchestra Japan
Tokyo Opera City Concert Hall
March 24, 2025
Tokyo, Japan
PART 1: LOCKHART RETURNS
It was a little under two years ago that Keith Lockhart was in Japan to conduct a series of concerts that marked a very special year for fans of John Williams in Japan: Williams conducted his first concert in the country in thirty years, with Lockhart soon following with a series of Williams and STAR WARS tribute concerts performed by the Boston Pops in Tokyo and Osaka.
This year, Lockhart is back – without the Boston Pops – to conduct Orchestra Japan through a small sampling of Williams’ legendary body of work.
As with Lockhart’s previous Williams tribute concert in Japan, some short pre-recorded interview videos were shown throughout the performance with Williams discussing the next piece to be performed. The setlist was also largely the same with the “Suite from Far and Away” being performed instead of the “Theme from Sabrina.”
PART 2: THE FIRST HALF
The program for the first half in English:
- Superman – “Superman March”
- Video: Williams on Jaws
- Jaws – “Theme from Jaws”
- Video: Williams on Irwin Allen and The Towering Inferno
- The Towering Inferno – “Main Title”
- Video: Williams on Close Encounters of the Third Kind
- Close Encounters of the Third Kind – “Excerpts from Close Encounters of the Third Kind”
- Far and Away – “Suite from Far and Away”
- Jurassic Park – “Theme from Jurassic Park”
- Video: Williams on Memoirs of a Geisha
- Memoirs of a Geisha – “Sayuri’s Theme”
- Video: Williams on Harry Potter
- Harry Potter and the Sorcerer’s Stone – “Harry’s Wondrous World”
The evening kicked off with Lockhart introducing the concert in Japanese while reading from a set of prepared cue cards. For someone who has not formally studied Japanese or lived in the country, his Japanese pronunciation and phrasing weren’t half bad! A few more visits to Japan and he’ll be speaking like a native in no time 🙂
Superman
Superman March
The concert’s opening piece was the iconic* “Superman March” from SUPERMAN. The brass section sounded a bit soft and thin to begin with, but they quickly recovered in the next few bars to deliver a fine performance of one of Williams’ most heroic themes.
* get ready to see this word used a lot in this review!
Jaws
Theme from Jaws
Before the “Theme from Jaws” was performed, a video was played with Williams talking about those two iconic notes of the JAWS theme. He mentioned that despite the first note being a particularly low cello note, he intentionally left room for it to go even lower.
And with that a low and deep piano sound filled the auditorium, immediately evoking a sense of danger and dread. The cellos soon entered, bringing with them perhaps one of the most recognizable themes in film history. The piece continued to power forward, rising and ebbing in volume for a sensational finish.
The Towering Inferno
Main Title
This video had Williams providing an amusing anecdote about the scoring of the “Main Title” for THE TOWERING INFERNO.
When Williams first presented his theme to the producer Irwin Allen, Allen immediately dismissed the piece and asked for a rewrite. Dismayed, Williams turned to his colleague Lionel Newman who told him to simply add a few percussion hits when Allen’s producer credit appeared on screen during the opening titles. Williams complied and presented his “new” piece to Allen who was immediately won over by it!
While the Orchestra Japan gave the piece a spirited performance, I couldn’t help but wonder why they didn’t demonstrate exactly what Williams was talking about by playing his “Main Title” live-to-picture – I know there must have been some rights issues, but still – the audience would have gone crazy the moment the producer credit was highlighted by Williams’ “new” music. Maybe next time?
Close Encounters of the Third Kind
Excerpts from Close Encounters of the Third Kind
For Steven Spielberg’s CLOSE ENCOUNTERS OF THE THIRD KIND, Williams wanted the film’s central melody to consist of seven notes. Spielberg, however, wanted only five as he intended for it to signify a “knock on the door” as opposed to a fully-fledged melody. With this in mind, Williams went on to fashion (yet another) one of film history’s most iconic melodies.
The performance started with high strings, quietly screeching with tension – it sounded so clear and present, probably because I was seated in the first row!
This continued as the whole orchestra joined, its instruments growling with menace and discomfort in the background. The tension soon dissipated, leading to the appearance of one of Williams’ most tender melodies on strings. This then led to a truly spine-tingling statement of that iconic five-note theme – Spielberg was right!
Far and Away
Suite from Far and Away
I had never really been a fan of the “Suite from Far and Away” as it had always seemed like second-rate Williams to me (don’t kill me!). In fact, I was sorely disappointed when I saw it on the programs for “John Williams in Milan” and “John Williams in Tokyo,” hoping that the “Theme from Jurassic Park” would be performed instead.
But the night’s performance seemed different. Perhaps because I was seated so close and could really hear and feel the music? Or maybe because Lockhart’s reading of the theme had a certain freshness and joy about it that I hadn’t heard before?
Either way, I am happy to admit that I now in fact like the suite! This performance, with its jaunty Irish-inspired melodies and rhythms, perfectly evoked the sounds and images of a life full of bustle and joy. The part where the cello section took the spotlight was just perfect in its drive and ability to capture pure excitement – I just couldn’t get enough of it!
Jurassic Park
Theme from Jurassic Park
Although I didn’t write about it at the time, I do not have good memories of the Boston Pop’s last performance of the “Theme from Jurassic Park” in Tokyo in 2023. During the instantly recognizable four-note opening for French horn, the horn soloist audibly flubbed the 4th note. When my friends and I heard this, we all looked at each other in disbelief – did that really just happen?
Since that time, I’ve been to countless concerts around the world and to be totally honest, I have almost always found issues with the horn section – they sometimes sound a bit thin or too quiet, and horn soloists sometimes do not clearly enunciate the notes. As a non-musician, I have no idea why this is, but I can definitely hear it – it’s even more noticeable when you’re familiar with the original soundtrack recording and have memorized the horn lines which all happen to be perfect in their delivery.
For the night’s performance I was again expecting the worst – but by George I was pleasantly surprised to hear a flawless, full-sounding and suitably noble performance of the horn parts for the “Theme from Jurassic Park.” DOMO ARIGATO French horn soloist whose name escapes me as no orchestra personnel list was released for the concert!
Memoirs of a Geisha
Sayuri’s Theme
While the pre-piece video had Williams discussing the use of authentic Japanese instruments in the original score for MEMOIRS OF A GEISHA, I don’t believe any were actually used during the night’s excellent performance of “Sayuri’s Theme” (or at least I couldn’t hear or see them).
Harry Potter and the Sorcerer’s Stone
Harry’s Wondrous World
“Harry’s Wondrous World” is a gorgeous piece that expertly captures the feelings and character of the young Harry Potter. There is one particular part in the piece that has this kind of cascading effect – almost like layers of “wonder” are wrapping you on all sides. During the orchestra’s performance I found this part to be a bit loud and uniform in volume. I felt it should have started loud and then softened as the music cascaded down in order to gently wrap the listener in that feeling of wonder.
PART 3: THE SECOND HALF
The program for the second half in English:
- Video: Williams on the Olympics
- Olympic Fanfare and Theme
- Video: Williams on Schindler’s List
- Schindler’s List – “Theme from Schindler’s List”
- Video: Williams on his appreciation for the orchestra
- The Witches of Eastwick – “Devil’s Dance”
- E.T. the Extra-Terrestrial – “Flying Theme”
- Star Wars: Episode V – The Empire Strikes Back – “The Imperial March”
- Video: Williams on Yoda
- Star Wars: Episode V – The Empire Strikes Back – “Yoda’s Theme”
- Video: Williams on Star Wars: Episode IX
- Star Wars: Episode VII – The Force Awakens – “Rey’s Theme”
- Video: Williams on his biggest happiness
- Star Wars: Episode IV – A New Hope – “Main Title”
Olympic Fanfare and Theme
The pre-piece video showed Williams passionately talking about Olympic athletes and the dedication they put into their sport. His facial expressions clearly showed that he was in absolute awe of these athletes, which is kind of funny considering many feel the exact way about him and his dedication to composing music!
The orchestra’s performance here was right on the money – it was heroic, inspirational and full of tremendous drive courtesy the percussion section. It would have been even better if they had projected a montage of Olympic athletes in competition like at their previous Williams’ concert. Maybe next time?
Schindler’s List
Theme from Schindler’s List
Williams mentioned in the video that he favoured his cue “Remembrances” over the more widely known “Theme from Schindler’s List.” As with the previous Williams concert, this naturally led me (and many others I presume) to wonder why the latter piece was subsequently performed instead. I mean, if Williams favours that piece, why not perform it?
This time, that really didn’t matter because we were treated to something truly special.
The night’s performance of the “Theme from Schindler’s List” and the pure emotion it elicited from its solo violinist was stunning on every level.
As I was sitting in the front row – right in front of him in fact – I could do nothing but hear and feel that music as it coursed through my veins and dug deep into my soul.
I could hear the anguished sounds from his violin without amplification as I remained transfixed on his bow gliding over the strings, producing the most profound sounds of loss and compassion.
The violinist, who throughout the night had been nothing but stoic and professional, was now reduced to the deepest expressions of pain and vulnerability.
The emotional intensity of Williams’ theme had so moved him that by the end of the piece he was struggling to maintain composure, struggling to hold back those tears.
I couldn’t help but feel for the guy as tears streamed down my cheeks…
After a highly emotional round of applause from the audience, he sat back down as Lockhart turned to him from the podium and clapped the outside of his left thigh as a touching sign of his appreciation.
The Witches of Eastwick
Devil’s Dance
The high emotions delivered during SCHINDLER’S LIST had to be followed by something light and fun, and “The Devil’s Dance” from THE WITCHES OF EASTWICK was precisely that.
Opening with tubular bells and the spinning sound of a unique percussion instrument (sorry, I don’t know what it’s called!), this performance was a ghoulish delight from start to end.
E.T. the Extra-Terrestrial
Flying Theme
This was another crowd-pleaser marked by an unforgettable theme as our heroes take flight.
Truth be told, I preferred to have heard the stupendous finale of the film contained in the piece “Adventures on Earth” – the “Flying Theme” is but a tease of the theme’s tremendous arrangement and development in that finale!
Star Wars: Episode V – The Empire Strikes Back
The Imperial March
As I’ve heard this piece so many times live, I only really notice when something is not right about it.
This performance was fine – it was suitably powerful, well-paced, and evocative of the Dark Side’s most famous villain.
Star Wars: Episode V – The Empire Strikes Back
Yoda’s Theme
Williams notes in his pre-performance video that when first presented with the character of Yoda, he had no idea what gender he or she was, but nevertheless set out to write a noble theme for the character.
Is there anything better than hearing live those opening strings glowing with “the force” during this piece?
Played throughout with great sensitivity, I just melted when the flute solo made its appearance…
But ah, I must point out a rather major issue I had during this piece and a few others throughout the night: the guy on principal viola.
He just couldn’t do subtle or anything below volume 11 and it was painfully obvious.
When he plucked his strings, they were loud and in your face. When a piece got exciting, he would play in such an over-the-top manner that it no doubt distracted many in the audience.
This is fine if you’re performing a raucous crowd-pleaser like the “William Tell Overture,” but for Yoda’s theme? I don’t think so.
On the plus side though, his overzealous playing helped me hear and better understand the role of the viola in the orchestra, which is something I hadn’t really understood until then as someone from a non-music background. This was extremely fascinating as the viola part is often buried (to me at least!) in the original soundtrack recordings.
So… thanks, I guess?
Star Wars: Episode VII – The Force Awakens
Rey’s Theme
It’s always a pleasure to hear a live performance of “Rey’s Theme,” the last truly great STAR WARS character theme. The opening, with the woodwinds taking turns until the celeste makes it entrance, gets me every time.
Star Wars: Episode IV – A New Hope
Main Title
There’s not much to say here except that it was great as always with the brass powering through and the percussion banging away with glee.
I personally would have chosen “Throne Room and End Title” for the concert finale, but hey – I didn’t produce this concert!
PART 4: ENCORE
Raiders of the Lost Ark
The Raiders March
The encore was of course “The Raiders March” from RAIDERS OF THE LOST ARK. It was another winning performance that received warm applause as soon as the audience recognized what it was.
PART 5: NEXT TIME PLEASE
While the night included many fine performances of some of my favourite Williams themes, I was somewhat disappointed to not hear music from SABRINA, “Remembrances” from SCHINDLER’S LIST, “The Flight to Neverland” from HOOK, and indeed anything from HOME ALONE – something I’ve yet to hear anything from live!
I also hope for future performances that they really match what Williams is talking about in his interview videos with what they perform.
Furthermore, as most people coming to these concerts are film or orchestral music fans, I think these events would be even more successful if they projected select scenes (or images) from each film as they are performed by the orchestra. This would not only give the audience greater context to enjoy the piece, but also help them appreciate the art and ingenuity of film scoring itself. And that can only be a good thing for this passion we call film music 😊
PART 6: 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.
