# data[].attributes.body
Antonia Vivaldi va nàixer el 4 de març de 1678 a Venècia, va ser un compositor, violinista, impresario, professor i sacerdot católic vencià del Barroc. Era sobrenomenat II prete rosso (el capellà roig) per a sacerdot i pèl-roig. Se'l considera un dels més grans compositors barrocs, la seua influencia durant la seua vida es va estendre per tota Europa i va ser fonamental en el desenvolupament de la música instrument de Johann Sebastian Bach. El seu mestratge es reflecteix a haver consolidat el gènere del concert, el més important de la seua época.

# data[].attributes.attachment_link.title
Las Cuatro Estaciones (Four Seasons) - Vivaldi

# data[].attributes.attachment_link.provider_name
MusicaAntigua.com - Comunidad de Música Antigua. Medieval, Renacimiento, Barroca, Polifonía, Sacra, Profana, Religiosa

# data[].attributes.attachment_link.readable_text
Realmente se llamaba Antonio Lucio Vivaldi, y fue en la ciudad de Venecia donde nació aunque no se tiene certeza de la fecha exacta del nacimiento, pero se cree que fue el 4 de marzo de 1678.

A Antonio Vivaldi se le conoce con el sobrenombre de il Prete Rosso (El Cura Rojo) debido a que era pelirrojo y cura de la iglesia.

Vivaldi sufrió de asma. Muchas veces tuvo que abandonar cuando oficiaba misa debido a sus frecuentes ataques.

De hecho en 1737 lo acusan de que es un sacerdote que nunca da misa a lo que Vivaldi responde lo siguiente en una carta dirigida a Bentivoglio:

" No he dicho misa por espacio de 25 años y no tengo intención de volver a hacerlo, no por causa de prohibición u ordenanza alguna, sino por mi propia voluntad, a causa de una enfermedad que he sufrido desde la infancia y que todavía me atormenta.

Después de haber sido ordenado sacerdote, dije misa durante un año, pero posteriormente decidí no volver a decirla por haber tenido en tres ocasiones que abandonar el altar antes de concluir el sacrificio a causa de mi enfermedad.

Por esta razón vivo casi siempre en interiores y nunca salgo si no es en góndola o carruaje, ya que no puedo caminar sin sentir dolor y opresión en el pecho.

Ningún caballero me ha invitado a ir a su casa, ni siquiera nuestro príncipe, porque todos conocen mi debilidad.

Puedo salir a pasear después de la cena, pero nunca voy a pie. Ésta es la causa de que nunca diga misa"

Cuando el Cardenal lo excusó de oficiar más misas a causa del asma, Vivaldi consiguió un trabajo como director musical en una escuela para niñas huérfanas.

Uno de sus trabajos musicales, Arsilda regina di Ponto, fue en un principio censurado debido a un supuesto contenido lésbico.

Vivaldi tuvo varios amoríos, uno de los cuales fue con la cantante Anna Giraud.

El compositor italiano compuso la música de bodas del rey Luis XV de Francia.

El Emperador austriaco Carlos VI gustaba tanto de la música de Vivaldi que lo nombró caballero.

Vivaldi compuso más de quinientos conciertos, aparte de óperas y música sacra.

Johann Sebastian Bach admiraba tanto la música de Vivaldi que transcribió varias de sus obras.

Al morir Vivaldi en 1741 su música quedó en la más completa oscuridad.

Fueron los estudiosos de Bach en el siglo XIX, los que oyeron por primera vez de Vivaldi, ésto gracias a los antiguos manuscritos donde Bach había transcrito los conciertos de alguien llamado A.L.Vivaldi.

Se sabía quien era Bach, ¿pero quién era Vivaldi? Por fortuna se realizó una búsqueda, lo que dio como resultado el rescate de Vivaldi del olvido.

En el funeral de Vivaldi, celebrado en la catedral de Viena, cantaron los niños del coro de la catedral, entre los que se encontraba el futuro compositor Joseph Haydn.

Para finalizar y aunque todo el mundo sabe, Vivaldi compuso Las Cuatro Estaciones, "Le Quattro Stagioni", (The Four Seasons) pequeñas historias musicalizadas de una manera única.

Sus cuatro estaciones son un homenaje musical al mundo y a la vida.

Os dejamos esta maravilla...

# data[].attributes.attachment_link.title
Curiosidades sobre Antonio Vivaldi, o mejor dicho Antonio Lucio Vivaldi - MusicaAntigua.com

# data[].attributes.attachment_link.description
Realmente se llamaba Antonio Lucio Vivaldi, y fue en la ciudad de Venecia donde nació aunque no se tiene certeza de la fecha exacta del nacimiento, pero se cree que fue el 4 de marzo de 1678.

# data[].attributes.body
Va nàixer en 22 de maig del 1813 a Venècia, Regne d'Itàlia. Va morir el 13 de febrer del 1883. Va ser un compositor, director d'orquestra, poeta, assagista, dramaturg i teòric musical alemany del Romanticisme. Destaquen principalment les seues òperes qualificades com a drames musicals pel propi compositor en les quals, a diferència d'altres compositors, va assumir també el llibret i l'escenografia.

# data[].attributes.attachment_link.title
El anillo del nibelungo de Richard Wagner con la Deutsche Oper Berlin

# data[].attributes.attachment_link.readable_text
Wilhelm Richard Wagner (Leipzig, Reino de Sajonia, Confederación del Rin, 22 de mayo de 1813-Venecia, Reino de Italia, 13 de febrero de 1883) fue un compositor, director de orquesta, poeta, ensayista, dramaturgo y teórico musical alemán del Romanticismo. Destacan principalmente sus óperas (calificadas como "dramas musicales" por el propio compositor) en las que, a diferencia de otros compositores, asumió también el libreto y la escenografía. En sus inicios, fundamentó su reputación como compositor en obras como El holandés errante y Tannhäuser, que seguían la tradición romántica de Weber y Meyerbeer. Transformó el pensamiento musical con la idea de la "obra de arte total" (Gesamtkunstwerk), la síntesis de todas las artes poéticas, visuales, musicales y escénicas, que desarrolló en una serie de ensayos entre 1849 y 1852, y que plasmó en la primera mitad de su monumental tetralogía El anillo del nibelungo. Sin embargo, sus ideas sobre la relación entre la música y el teatro cambiaron nuevamente y reintrodujo algunas formas operísticas tradicionales en las obras de su última etapa, como en Los maestros cantores de Núremberg. Las obras de Wagner, particularmente las de su último periodo (que se corresponden con su etapa romántica), destacan por su textura contrapuntística, riqueza cromática, armonía, orquestación y un elaborado uso de los leitmotivs (temas musicales asociados a caracteres específicos o elementos dentro de la trama). Wagner fue pionero en varios avances del lenguaje musical, como un extremo cromatismo (asociado con el color orquestal) o la ampliación del cosmos armónico a través de un continuo desplazamiento de los centros tonales, lo que influyó en el desarrollo de la música clásica europea. Su ópera Tristán e Isolda se describe a veces como punto de inicio de la música académica contemporánea. La influencia de Wagner se extendió también a la filosofía, la literatura, las artes visuales y el teatro. Hizo construir su propio teatro de ópera, el Festspielhaus de Bayreuth, para escenificar sus obras del modo en que él las imaginaba y que contienen diseños novedosos. Allí tuvo lugar el estreno de la tetralogía del Anillo y Parsifal, donde actualmente se siguen representando sus obras operísticas más importantes en un Festival anual a cargo de sus descendientes. Los puntos de vista de Wagner sobre la dirección orquestal también fueron muy influyentes. Escribió ampliamente sobre música, teatro y política, obras que han sido objeto de debate en las últimas décadas, especialmente algunas de contenido antisemita, como su ensayo El judaísmo en la música y por su supuesta influencia sobre Adolf Hitler y el nacionalsocialismo.​​ Wagner logró todo esto a pesar de una vida que se caracterizó, hasta sus últimas décadas, por el exilio político, relaciones amorosas turbulentas, pobreza y repetidas huidas de sus acreedores. Su agresiva personalidad y sus opiniones, con frecuencia demasiado directas, sobre la música, la política y la sociedad lo convirtieron en un personaje polémico, etiqueta que todavía mantiene. El impacto de sus ideas se puede encontrar en muchas de las artes del siglo.

Información extraída de Wikipedia

# data[].attributes.attachment_link.description
Descubre Wagner, Richard (1813-1883), en el portal de datos abiertos y enlazados de la Biblioteca Nacional de España

# data[].attributes.body
John Towner Williams (Floral Park, Nova York; 8 de febrer de 1932) és un compositor, director d'orquestra, pianista i trombonista estatunidenc. Considerat un dels compositors més prolífics de bandes sonores de la història del cinema, ha compost algunes de les més famoses i recognoscibles de tots els temps com: Harry Potter, Star Wars, Tauró, Atrapa'm si pots, E.T., l'extraterrestre, Superman, Indiana Jones, Parc Juràsic, La llista de Schindler, El colós en flames, L'aventura del Posidó i Home *Alone.

Ha treballat amb el cèlebre director Steven Spielberg des de 1974 i ha compost la música de tota la seua obra, a excepció de tres pel·lícules. També ha realitzat composicions musicals per a diversos Jocs Olímpics, nombroses sèries de televisió, noticiaris i diverses peces de concert.1​

# data[].attributes.attachment_link.readable_text
John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. In a career that has spanned seven decades, he has composed some of the most popular, recognizable and critically acclaimed film scores in cinema history. Williams has won 25 Grammy Awards, five Academy Awards, seven British Academy Film Awards, and four Golden Globe Awards. With 53 Academy Award nominations, he is the second most-nominated individual, after only Walt Disney. His compositions are considered the epitome of film music, and he is considered among the greatest composers in the history of cinema. Williams has composed many of his film scoring works for frequent collaborators Steven Spielberg and George Lucas, and other directors such as Chris Columbus, Oliver Stone, Richard Donner, Irwin Kershner, Sydney Pollack, Alfred Hitchcock, Mark Rydell, Mark Robson, Jean-Jacques Annaud, Robert Altman, and J. J. Abrams.

Williams has been associated with director Steven Spielberg since 1974, composing music for all but five of his feature films, and George Lucas, with whom he has worked on both of his main franchises, Star Wars and Indiana Jones. His early work as a film composer includes The Killers (1964), How to Steal a Million (1966), Valley of the Dolls (1967), and Goodbye Mr. Chips (1969). He has received five Academy Awards for Best Original Score for his work on Fiddler on the Roof (1971), (1975), (1977), E.T.: The Extra Terrestrial (1982), and Schindler's List (1993). Williams has composed for many popular films including the saga, , the first two Home Alone films, the Indiana Jones films, the first two Jurassic Park films, and the first three Harry Potter films. Other memorable film scores from his collaboration with Spielberg include Close Encounters of the Third Kind (1977), Hook (1991), Saving Private Ryan (1998), Catch Me If You Can (2002), War of the Worlds (2005), (2011), (2012), and The Fabelmans (2022).

Williams has also composed numerous classical concertos and other works for orchestral ensembles and solo instruments. He served as the Boston Pops' principal conductor from 1980 to 1993 and is its laureate conductor. Other works by Williams include theme music for the 1984 Summer Olympic Games, NBC Sunday Night Football, " The Mission" theme used by NBC News and Seven News in Australia, the television series Lost in Space and Land of the Giants, and the incidental music for the first season of Gilligan's Island. Williams announced but then rescinded his intention to retire from film score composing after the release of Indiana Jones and the Dial of Destiny in 2023.

Williams was the only American composer in history to compose 9 entries in a single film series, until he was surpassed by Saw's Charlie Clouser in 2023. In 2005, the American Film Institute selected Williams's score to 1977's as the greatest film score of all time. The Library of Congress entered the Star Wars soundtrack into the National Recording Registry for being "culturally, historically, or aesthetically significant". Williams was inducted into the Hollywood Bowl's Hall of Fame in 2000, and he received a Kennedy Center Honor in 2004. His AFI Life Achievement Award in 2016 was the first to be awarded outside of the acting and directing fields. He has composed the score for nine of the top 25 highest-grossing films at the U.S. box office (adjusted for inflation). His work has influenced other composers of film, popular, and contemporary classical music.

John Towner Williams was born in Flushing, Queens, New York City, to Esther (née Towner) and Johnny Williams,[failed verification ] a jazz drummer and percussionist who played with the Raymond Scott Quintet. He has an older sister, Joan, and two younger brothers, Jerry and Don, who play on his film scores. Williams said of his lineage: "My father was a Maine man-we were very close. My mother was from Boston. My father's parents ran a department store in Bangor, Maine, and my mother's father was a cabinetmaker."

In 1948, the Williams family moved to Los Angeles where John attended North Hollywood High School, graduating in 1950. He later attended the University of California, Los Angeles, and studied composition privately with the Italian composer Mario Castelnuovo-Tedesco. Williams also attended Los Angeles City College for one semester, as the school had a Studio Jazz Band. In 1951, Williams joined the U.S. Air Force, where he played the piano and brass and conducted and arranged music for the U.S. Air Force Band as part of his assignments. In a 2016 interview with the U.S. Air Force Band, he recounted having attended basic training at Lackland Air Force Base, after which he served as a pianist and brass player, with secondary duties of making arrangements for three years. In March 1952, he was assigned to the Northeast Air Command 596th Air Force Band, stationed at Pepperrell Air Force Base in St. John's, Newfoundland. He also attended music courses at the University of Arizona as part of his service.

In 1955, following his Air Force service, Williams moved to New York City and entered the Juilliard School, where he studied piano with Rosina Lhévinne. He was originally set on becoming a concert pianist, but after hearing contemporary pianists such as John Browning and Van Cliburn perform he switched his focus to composition. During this time Williams worked as a jazz pianist in the city's many jazz clubs.

After his studies at Juilliard and the Eastman School of Music, Williams went to Los Angeles where he began working as an orchestrator at film studios. Among other composers, Williams worked with Franz Waxman, Bernard Herrmann, and Alfred Newman, and also with his fellow orchestrators Conrad Salinger and Bob Franklyn.

Williams was also a studio pianist and session musician, performing on film scores by composers such as Jerry Goldsmith, Elmer Bernstein, Leonard Bernstein, and Henry Mancini. With Mancini he recorded the scores of 1959's , 1962's Days of Wine and Roses, and 1963's . With Elmer Bernstein, he performed on the score of Hecht-Hill-Lancaster's Sweet Smell of Success. Williams plays the piano part of the guitar-piano ostinato in the famous Mancini Peter Gunn title theme. On the Peter Gunn soundtrack, he collaborated with guitarist Bob Bain, bassist Rolly Bundock, and drummer Jack Sperling, many of whom were also featured on the television series. Williams was the pianist for the soundtrack for the adaptation of Leonard Bernstein's West Side Story and the 1960 film The Apartment.

Williams during this time period was known as Johnny Williams, and under this name he released several jazz albums, including World on a String and The John Towner Touch. Williams also served as music arranger and bandleader for a series of popular music albums with the singers Ray Vasquez and Frankie Laine.

Although skilled in a variety of 20th-century compositional idioms, Williams's most familiar style may be described as a form of neoromanticism, which was inspired by the late 19th century's large-scale orchestral music-in the style of Pyotr Ilyich Tchaikovsky or Richard Wagner and the latter's concept of leitmotif -that inspired his film music predecessors.

Williams's first film composition was for You Are Welcome-a promotional film for the tourist information office of Newfoundland, created in 1954 when Williams was stationed at Pepperrell Air Force Base. Williams's first feature film composition was in 1958 for the B movie , and his first screen credit came two years later in Because They're Young. Williams also composed music for various television programs in the same time period including the pilot episode of Gilligan's Island, Bachelor Father (1959-60), the Kraft Suspense Theatre, Lost in Space (1965-68), The Time Tunnel (1966-67), and Land of the Giants (the last three created by the prolific TV producer Irwin Allen). He also worked on several episodes of .

He soon gained notice in Hollywood for his versatility in composing jazz, piano, and symphonic music. Williams received his first Academy Award nomination for his score for 1967's Valley of the Dolls and was nominated again for his score for 1969's Goodbye, Mr. Chips. He won his first Academy Award for his score adaptation for the 1971 film Fiddler on the Roof. In 1972, he composed the score for the Robert Altman-directed psychological thriller (recorded in collaboration with noted percussionist Stomu Yamashta), which earned him another nomination in the category Best Music, Original Dramatic Score at the 1973 Academy Awards. Williams's prominence grew in the early 1970s thanks to his work for Irwin Allen's "disaster films." He wrote the scores for 1972's The Poseidon Adventure and 1974's The Towering Inferno. He scored Universal's 1974 film Earthquake for director Mark Robson, completing a "trinity" of scores for the decade's highest-grossing "disaster films", and the 1972 film The Cowboys, a western starring John Wayne and directed by Mark Rydell.[citation needed ]

In 1974, director Steven Spielberg approached Williams to compose the music for his feature directorial debut, The Sugarland Express. They teamed up again a year later for Spielberg's second film, . Widely considered a classic suspense film, its score's ominous two-note ostinato has become synonymous with sharks and approaching danger. The score earned Williams his second Academy Award. Shortly thereafter, Spielberg and Williams began collaborating on Spielberg's next feature film, Close Encounters of the Third Kind. During the two-year collaboration, they crafted its distinctive five-note figure that functions both in the background music and as the communications signal of the film's extraterrestrials. Williams also used a system of musical hand signals in the film that were based on hand signs created by John Curwen and refined by Zoltán Kodály. In 1975 Clint Eastwood chose Williams to score his classic climbing film The Eiger Sanction. Williams also scored John Frankenheimer's thriller Black Sunday.

During the same period, Spielberg recommended Williams to his friend and fellow director George Lucas, who needed a composer to score his ambitious 1977 space epic film . Williams eventually delivered a grand symphonic score in the fashion of Gustav Holst's orchestral suite The Planets, as well as Richard Strauss, Antonín Dvořák, and Golden Age Hollywood composers Max Steiner and Erich Wolfgang Korngold. The Star Wars theme is among the most widely recognized in film history, and the " Force Theme" and " Princess Leia's Theme" are well-known examples of leitmotif. Both the film and its score were immensely successful-it remains the highest grossing non- popular music recording of all time-and Williams won another Academy Award for Best Original Score. In 1980, Williams returned to score The Empire Strikes Back, introducing " The Imperial March" as the theme for Darth Vader and the Galactic Empire, " Yoda's Theme", and " Han Solo and the Princess". The original trilogy concluded with the 1983 film Return of the Jedi, for which Williams's score provided most notably the " Emperor's Theme", " Parade of the Ewoks", and " Luke and Leia". Both scores earned him Academy Award nominations.

Williams scored the 1976 Alfred Hitchcock film Family Plot. Williams did not much like the film but did not want to turn down the chance to work for Hitchcock. Hitchcock merely told him to remember one thing, "Murder can be fun." Hitchcock was very satisfied with the result. Williams worked with director Richard Donner to score the 1978 film . (Donner reportedly interrupted the demo premiere of the opening title by running onto the soundstage, exclaiming, "The music actually says 'Superman'!") The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, known as "Can You Read My Mind", appeared in the four sequel films. Williams also worked with director John Badham to score the 1979 gothic horror film , which was based on Bram Stoker's 1897 novel of the same title and its 1924 stage adaptation.

John Williams conducting the score to Raiders of the Lost Ark in the Avery Fisher Hall in 2007

For the 1981 film Raiders of the Lost Ark, created by Lucas and directed by Spielberg, Williams wrote a rousing main theme known as "The Raiders March" to accompany the film's hero, Indiana Jones. He composed separate themes to represent the Ark of the Covenant, the character Marion, and the story's Nazi villains. Additional themes were featured in his scores to the subsequent Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008). Williams composed an emotional and sensitive score to Spielberg's 1982 fantasy film E.T. the Extra-Terrestrial, for which he was awarded a fourth Academy Award.

In 1985, Williams was commissioned by NBC to compose a television news music package for various network news spots. The package, which Williams named " The Mission", consists of four movements, two of which are still used heavily by NBC today for , NBC Nightly News, and Meet the Press.

The Spielberg-Williams collaboration resumed with the 1987 film Empire of the Sun and still continues, spanning genres from science fiction thrillers (1993's Jurassic Park) to somber tragedies 2005's to Eastern-tinged melodramas (2005's Memoirs of a Geisha, directed by Rob Marshall) to dramatic war films (1998's Saving Private Ryan). Spielberg has said, "I call it an honorable privilege to regard John Williams as a friend." In his Academy Award-nominated score for The Accidental Tourist (1988), Williams developed the two main theme sections in different ways, turning the mood lighter or darker through orchestration and an unexpected use of synthesizers. 1993's Schindler's List proved to be a challenge for Williams, and after viewing the rough cut with Spielberg, he was hesitant to score the film, being so overcome with emotion watching the cut. He told Spielberg, "I really think you need a better composer than I am for this film." Spielberg then replied, "I know, but they're all dead." Williams enlisted the help of classical violinist Itzhak Perlman to play the main theme for the film. Williams then garnered his fourth Oscar for Best Original Score, his fifth Academy Award overall.

In 1999, Lucas launched the first of three prequels to the original Star Wars trilogy. Williams was asked to score all three, starting with The Phantom Menace. Along with themes from the previous films, Williams created new themes to be used as leitmotifs in 2002's Attack of the Clones and 2005's Revenge of the Sith. Most notable of these was " Duel of the Fates," an aggressive choral composition in the style of Verdi's Requiem, using harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. It used vocal melodies instead of his usual compositions using brass instruments. Also of note was "Anakin's Theme", which begins as an innocent childlike melody and morphs insidiously into a quote of the sinister "Imperial March". For Episode II Williams composed "Across the Stars", a love theme for Padmé Amidala and Anakin Skywalker (mirroring the love theme composed for The Empire Strikes Back). The final installment combined many of the themes created for the series' previous films, including "The Emperor's Theme", "The Imperial March", "Across the Stars", "Duel of the Fates", "The Force Theme", "Rebel Fanfare", "Luke's Theme", and "Princess Leia's Theme", as well as new themes for General Grievous and the film's climax, titled "Battle of the Heroes".

In the 2000s, Williams scored the first three film adaptations of J. K. Rowling's widely successful book series Harry Potter. As with his Superman theme, the most important theme from Williams's scores for the Harry Potter films, "Hedwig's Theme", was used in the fourth through eighth films (Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows - Part 1, and Harry Potter and the Deathly Hallows - Part 2), scored by Patrick Doyle ( Goblet of Fire), Nicholas Hooper ( Order of the Phoenix and Half-Blood Prince) and Alexandre Desplat ( Deathly Hallows). Like the main themes from Jaws, Star Wars, Superman, and Indiana Jones, fans have come to identify the Harry Potter films with Williams's original compositions. Williams was asked to return to score the film franchise's final installment, Harry Potter and the Deathly Hallows - Part 2, but director David Yates said that "their schedules simply did not align", as he would have had to provide Williams with a rough cut of the film sooner than was possible.

In 2002, for the 20th anniversary edition of E.T. the Extra-Terrestrial, Williams composed a score for the Universal Pictures logo that segued to music from the movie. In 2006, Superman Returns was directed by Bryan Singer, best known for directing the first two films in the X-Men series. Singer did not request Williams to compose a score for the intentionally Donner-esque film, but he employed the skills of composer John Ottman to incorporate Williams's original Superman theme as well as those for Lois Lane, Krypton and Smallville. In 2011, the "Main Title Theme" and elements of "Can You Read My Mind" were used in the final scene of "Finale", the series finale of The WB/ CW television series Smallville. Don Davis, recommended by Williams to the producers, performed a similar role for Jurassic Park III. In 2008 Williams composed music for two documentaries, Warner at War and A Timeless Call, the latter directed by Spielberg. In 2011, after a three-year absence from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin and . Both scores received overwhelmingly positive reviews and earned Academy Award nominations, the latter also being nominated for a Golden Globe. The Oscar nominations were Williams's 46th and 47th, making him the most nominated musician in Academy Award history (having previously been tied with Alfred Newman's 45 nominations), and the second most nominated overall, behind Walt Disney. Williams won an Annie Award for his score for The Adventures of Tintin. In 2012, he scored Spielberg's film and subsequently received his 48th Academy Award nomination.

In 2013, Williams expressed interest in working on the Star Wars sequel trilogy, saying: "Now we're hearing of a new set of movies coming in 2015, 2016... so I need to make sure I'm still ready to go in a few years for what I hope would be continued work with George." He also scored the 2013 film The Book Thief, his first collaboration with a director other than Spielberg since 2005. The score earned him an Academy Award, Golden Globe and BAFTA nominations and a Grammy Award for Best Instrumental Composition. It was his 44th nomination for Best Original Score (and 49th overall), setting a new record for the most nominations in that category (he tied Alfred Newman's record of 43 nominations in 2013). In 2015, Williams scored Star Wars: The Force Awakens, earning him his 50th Academy Award nomination. He was also set to write the score for Bridge of Spies that year, which would have been his 27th collaboration with Spielberg, but in March 2015 it was announced that Thomas Newman would score it instead, as Williams's schedule was interrupted by a minor health issue. This was the first Spielberg film since The Color Purple (1985) not scored by Williams. In 2016, Williams composed the score for Spielberg's . In 2017, Williams scored the animated short film Dear Basketball, directed by Glen Keane and based on a poem by Kobe Bryant. He also wrote the music for Star Wars: The Last Jedi, the eighth episode of the saga, and Spielberg's drama film , both of which opened in December 2017. Williams contributed "The Adventures of Han" and several additional demos for the 2018 standalone Star Wars film Solo: A Star Wars Story, while John Powell wrote the film's original score and adapted Williams's music.

In March 2018, Williams announced that following Star Wars: The Rise of Skywalker, which was released in December 2019, he would retire from composing music for the Star Wars franchise: "We know J. J. Abrams is preparing one Star Wars movie now that I will hopefully do next year for him. I look forward to it. It will round out a series of nine, that will be quite enough for me." Williams makes a cameo in the film as Oma Tres, a Kijimi bartender. In July 2018, Williams composed the main musical theme for Disneyland and Disney's Hollywood Studios theme park attraction Star Wars: Galaxy's Edge. William Ross, who conducted the symphonic recording of the theme with the London Symphony Orchestra on Williams's behalf, additionally arranged Williams's original composition in different musical contexts for use, recording nearly an hour of musical material at Abbey Road Studios in November 2018. Williams won the Grammy Award for Best Instrumental Composition for his Star Wars: Galaxy's Edge Symphonic Suite.

In 2019, Williams served as music consultant for Spielberg's 2021 film adaptation of West Side Story. Williams scored Spielberg's next film The Fabelmans, released on November 23, 2022. He also composed the theme music for the Star Wars miniseries Obi-Wan Kenobi. In June 2022, Williams announced that Indiana Jones and the Dial of Destiny, scheduled for a 2023 release, would likely be his last film score as he plans to retire from film and focus on composing concert music. However, he reversed this decision by January 2023, stating that he had at least "10 more years to go. I'll stick around for a while!". He compared the decision to Spielberg's father Arnold, who had worked in his career field until he was 100.

Conducting, performing, and other classical works

From 1980 to 1993, Williams served as the Boston Pops Orchestra's principal conductor, succeeding Arthur Fiedler. Williams never met Fiedler in person but spoke to him by telephone. His arrival as the Pops' new leader in the spring of 1980 allowed him to devote part of the Pops' first PBS broadcast of the season to presenting his new compositions for The Empire Strikes Back. Williams almost ended his tenure with the Pops in 1984 when some players hissed while sight-reading a new Williams composition in rehearsal; Williams abruptly left the session and tendered his resignation. He initially cited mounting conflicts with his film composing schedule but later admitted a perceived lack of discipline in, and respect from, the Pops' ranks, culminating in this latest instance. After entreaties by the management and personal apologies from the musicians, Williams withdrew his resignation and continued as principal conductor for nine more years. In 1995, he was succeeded by Keith Lockhart, the former associate conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra. Williams is now the Pops' laureate conductor, thus maintaining his affiliation with its parent Boston Symphony Orchestra. Williams leads the Pops on several occasions each year, particularly during their Holiday Pops season and typically for a week of concerts in May. He conducts an annual Film Night at both Boston Symphony Hall and Tanglewood, where he frequently enlists the Tanglewood Festival Chorus.

Williams has written many concert pieces, including a symphony; a concerto for horn written for Dale Clevenger, the Chicago Symphony Orchestra's principal horn; a concerto for clarinet written for Michele Zukovsky, the Los Angeles Philharmonic's principal clarinetist, in 1991; a sinfonietta for wind ensemble; a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra; and a trumpet concerto, which was premiered by The Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996. His bassoon concerto, " The Five Sacred Trees", which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra.

Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a report on in 1983.

He composed the " Liberty Fanfare" for the Statue of Liberty's rededication; "We're Lookin' Good!" for the Special Olympics in celebration of the 1987 International Summer Games; and themes for the 1984, 1988, 1996, and 2002 Olympic Games. One of his concert works, "Seven for Luck", for soprano and orchestra, is a seven-piece song cycle based on the texts of former U.S. poet laureate Rita Dove. "Seven for Luck" had its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.

Williams makes annual appearances with the Los Angeles Philharmonic at the Hollywood Bowl, and he took part as conductor and composer in the orchestra's opening gala concerts for the Walt Disney Concert Hall in 2003. In 2004, he both served as the Grand Marshal for the Rose Parade, and directed "The Star Spangled Banner" at the Rose Bowl. In April 2005, Williams and the Boston Pops performed the "Throne Room Finale" from Star Wars at opening day in Fenway Park as the Boston Red Sox, having won their first World Series championship since 1918, received their championship rings. For Game 1 of the 2007 World Series, Williams conducted a brass-and-drum ensemble in a new dissonant arrangement of the " Star Spangled Banner".

In February 2004, April 2006, and September 2007, Williams conducted the New York Philharmonic at Avery Fisher Hall in New York City. The initial program was intended to be a one-time special event, and featured Williams's medley of Oscar-winning film scores first performed at the previous year's Academy Awards. Its unprecedented popularity led to two concerts in 2006: fundraising gala events featuring personal recollections by film directors Martin Scorsese and Steven Spielberg. Continuing demand fueled three more concerts in 2007, which all sold out. These featured a tribute to the musicals of film director Stanley Donen and had the distinction of serving as the New York Philharmonic season's opening event. After a three-season absence, Williams conducted the Philharmonic once again in October 2011.

Maestro Williams also conducted the National Symphony Orchestra, the U.S. Army Herald Trumpets, the Joint Armed Forces Chorus, and the Choral Arts Society of Washington in his new arrangement of " The Star-Spangled Banner" for the anthem's 200th anniversary. The performance was held at A Capitol Fourth, an Independence Day celebration concert in Washington, D.C., on July 4, 2014. On April 13, 2017, at Star Wars Celebration Orlando, Williams performed a surprise concert with the Orlando Philharmonic Orchestra featuring "Princess Leia's Theme" (a tribute to the recently deceased Carrie Fisher), "The Imperial March" and "Main Title", followed by Lucas saying, "The secret sauce of Star Wars, the greatest composer-conductor in the universe, John Williams".

German classical violinist Anne-Sophie Mutter and Williams, introduced to each other by their mutual friend André Previn, collaborated on an album, "Across the Stars", on which Mutter played themes and pieces from Williams's film scores in his new arrangements for violin. It was released in August 2019. The Vienna Philharmonic Orchestra invited Williams to lead concerts in January 2020, his first engagement with a European orchestra, for an all-Williams concert featuring Mutter as soloist. The concert included many pieces from the" Across the Stars" Album. The resulting concert album, "John Williams in Vienna", became the bestselling orchestral album of 2020, reaching the top 10 in many countries and topping the U.S. and UK classical charts. The orchestra also commissioned a new procedural from Williams for their annual Philharmonikerball, replacing the 1924 fanfare by Richard Strauss. Williams conducted the Berlin Philharmonic from October 14-16, 2021, marking his second engagement with a European orchestra and his first with the Berlin Philharmonic. In 2022, in celebration of his 90th birthday, Williams conducted the Vienna Philharmonic in March, and was honored on August 20 with a tribute at Tanglewood. The tribute at Tanglewood featured musicians James Taylor, Yo-Yo Ma, and Branford Marsalis. The Boston Symphony Orchestra performed some of Williams' most well-known music, with Williams conducting the "Raiders March" from the Indiana Jones movies at the end of the show.

In 1956, Williams married Barbara Ruick, an American actress and singer, and remained married until her death in 1974. They had three children: Jennifer (Jenny) Williams Gruska (b. 1956), Mark Towner Williams (b. 1958), and Joseph Williams (b. 1960); the last is best known as the lead singer of Toto. In 1980, Williams married Samantha Winslow, a photographer.

Williams is regarded as one of the most influential film composers. His work has influenced other film composers, as well as contemporary classical and popular music. Similarly, his film music has clear influences from other classical and film composers, including Holst, Stravinsky, Korngold, and others. But while many have specifically referenced the similarities, these are generally attributed to the natural influence of one composer on another.

Williams has been nominated for 53 Academy Awards, winning five; six Emmy Awards, winning three; 25 Golden Globe Awards, winning four; 71 Grammy Awards, winning 25; and has received seven British Academy Film Awards. With 53 Oscar nominations, Williams currently holds the record for the most Oscar nominations for a living person and is the second most nominated person in Academy Awards history behind Walt Disney's 59. Williams is the only person to be nominated for an Academy Award in seven different decades (the 1960s, 70s, 80s, 90s, 2000s, 2010s, and 2020s). He is also the oldest person, at age 90, ever to be nominated for an Academy Award. Forty-eight of Williams's Oscar nominations are for Best Original Score and five are for Best Original Song. He won four Oscars for Best Original Score and one for Best Scoring: Adaptation and Original Song Score (Fiddler on the Roof).

He has received several academic honors. In 1980, Williams received an Honorary Doctorate of Music from Berklee College of Music. Williams received an Honorary Doctor of Music degree from Boston College in 1993, from Harvard University in 2017, and from the University of Pennsylvania in 2021. Williams was made an honorary brother of Kappa Kappa Psi at Boston University in 1993, upon his impending retirement from the Boston Pops. Since 1988, Williams has been honored with 15 Sammy Film Music Awards, the longest-running awards for film music recordings. In 2000, Williams received the Golden Plate Award of the American Academy of Achievement.

Williams has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl Hall of Fame. Williams was honored with the annual Richard Kirk award at the 1999 BMI Film and TV Awards, recognizing his contribution to film and television music. In 2004, he received a Kennedy Center Honor. He won a Classic Brit Award in 2005 for his soundtrack work of the previous year. Williams has won the Grammy Award for Best Instrumental Composition for his scores for Star Wars, Close Encounters of the Third Kind, Superman, The Empire Strikes Back, E.T. the Extra-Terrestrial, Angela's Ashes, Munich, Indiana Jones and the Kingdom of the Crystal Skull, and The Book Thief. The competition includes not only composers of film scores, but also composers of instrumental music of any genre, including composers of classical fare such as symphonies and chamber music.

In 2003, the International Olympic Committee accorded Williams its highest individual honor, the Olympic Order. In 2009, Williams received the National Medal of Arts in the White House in Washington, D.C., for his achievements in symphonic music for films, and "as a pre-eminent composer and conductor [whose] scores have defined and inspired modern movie-going for decades". In 2012, Williams received the Brit Award for Outstanding Contribution to Music. In 2013, Williams was presented with the Ken Burns Lifetime Achievement Award. In 2016, Williams was made a Chevalier De L'Ordre des Arts et des Lettres - Government of France In 2018, the performing rights organization Broadcast Music, Inc. established The John Williams Award, of which Williams became the first recipient. Also the same year, Williams received the Grammy Trustees Award which is a Special Merit Award presented to individuals who, during their careers in music, have made significant contributions, other than performance (and some performers through 1983), to the field of recording. In 2020, Williams won the Grammy Award for "Best Instrumental Composition" for composing Star Wars: Galaxy's Edge Symphonic Suite, and he received his 52nd Oscar nomination for "Best Original Score" at the 92nd Academy Awards for Star Wars: The Rise of Skywalker. In 2020, Williams received the Gold Medal of the Royal Philharmonic Society as well as the Princess of Asturias Award for the Arts (jointly with Ennio Morricone). In 2021, Williams received an honorary degree from the University of Pennsylvania. In 2022, Williams was appointed an Honorary Knight Commander of the Order of the British Empire (KBE) by Queen Elizabeth II, "for services to film music", one of the final two knighthoods awarded during the Queen's seventy-year reign. On July 16, 2023 John T. Williams was made an honorary US Marine at the conclusion of his fifth concert with the President's Own Marine Band at the Kennedy Center in Washington DC.

Charting hits (U.S., Billboard)

1969: Concerto for Flute and Orchestra

1974: Violin Concerto No. 1

1985: Concerto for Tuba and Orchestra

1991: Concerto for Clarinet and Orchestra

1993: Concerto for Bassoon and Orchestra, The Five Sacred Trees

1994: Concerto for Cello and Orchestra

1996: Concerto for Trumpet and Orchestra

1997: Elegy for Cello and Orchestra

2000: TreeSong for Violin and Orchestra

2002: Heartwood: Lyric Sketches for Cello and Orchestra

2002: Escapades for Alto Saxophone and Orchestra (adapted from the Catch Me If You Can film score)

2003: Concerto for Horn and Orchestra

2009: Concerto for Viola and Orchestra

2009: On Willows and Birches, for Harp and Orchestra

2011: Concerto for Oboe and Orchestra

2014: Scherzo for Piano and Orchestra

2017: Markings for Violin, Strings and Harp

2018: Highwood's Ghost, An Encounter for Cello, Harp and Orchestra

2021: Violin Concerto No. 2

Other orchestral works

1965: Prelude and Fugue (recorded on Stan Kenton Conducts the Los Angeles Neophonic Orchestra (Capitol, 1965))

1965: Symphony no. 1

1965: Essay for Strings

1968: Sinfonietta for Wind Ensemble

1975: Thomas and the King - Musical

1980: Jubilee 350 Fanfare

1984: Olympic Fanfare & Theme

1986: Liberty Fanfare

1987: A Hymn to New England

1988: Fanfare for Michael Dukakis

1988: For New York

1990: Celebrate Discovery

1993: Sound the Bells!

1994: Song for World Peace

1995: Variations on Happy Birthday

1999: American Journey

2003: Soundings

2007: Star Spangled Banner

2008: A Timeless Call

2012: Fanfare for Fenway

2012: Seven for Luck for soprano and orchestra

2013: For 'The President's Own'

2014: Star Spangled Banner

Chamber works

1951: Sonata for Piano

1997: Elegy for Cello and Piano

2001: Three Pieces for Solo Cello

2007: Duo Concertante for Violin and Viola

2009: Air and Simple Gifts for violin, cello, clarinet and piano

2011: Quartet La Jolla for violin, cello, clarinet and harp

2012: Rounds for solo guitar

2013: Conversations for solo Piano

2014: Music for Brass for Brass Ensemble and Percussion

Aschieri, Roberto (1999). Over the Moon: La Música de John Williams Para El Cine (in Spanish). Santigo, Chile: Función Privada, sponsored by Universidad Diego Portales. p. 400. ISBN 978-4-89799-246-4.

Audissino, Emilio (2021): John Williams's Film Music: Reviving Hollywood's Classical Style. (Madison, WI: University of Wisconsin Press), 376 pp. ISBN 978-0-299-33234-1.

Audissino, Emilio ed. (2018): John Williams: Music for Films, Television and the Concert Stage. (Lucca, Italy: Bepols), 440 pp. ISBN 978-2-503-58034-0.

Moormann, Peter (2010). Spielberg-Variationen: die Filmmusik von John Williams (in German). Baden-Baden: Nomos, Edition Reinhard Fischer. p. 797. ISBN 978-3-8329-5355-3.

(subscription or Palmer, Christopher (2020) [2013]. "Williams, John". In Marks, Martin (ed.). Grove Music Online. Revised by Martin Marks. Oxford: Oxford University Press. doi:10.1093/omo/9781561592630.013.3000000229. ISBN 9781561592630. UK public library membership required)

Paulus, Irena: "Williams versus Wagner - Or an Attempt at Linking Musical Epics". In: Stoppe, Sebastian (2014). Film in Concert: Film Scores and their Relation to Classical Concert Music. Glücksstadt, Germany: VWH Verlag. pp. 63-108. doi:10.25969/mediarep/16802. ISBN 978-3-86488-060-5..

Stoppe, Sebastian: "John Williams's Film Music in the Concert Halls". In: Audissino, Emilio (2018). John Williams, Music for Film, Television and the Concert Stage. Turnhout: Brepols. pp. 95-116. doi:10.25969/mediarep/16800. ISBN 978-2-503-58034-0.

Valverde, Andrés (2013). John Williams: Vida y Obra (in Spanish). Berenice Press. ISBN 978-8-4154-4142-7.

# data[].attributes.attachment_link.description
John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. In a career that has spanned seven decades, he has composed some of the most popular, recognizable and critically acclaimed film scores in cinema history. Williams has won 25 Grammy Awards, five Academy Awards, seven British Academy Film Awards, and four Golden Globe Awards.

# data[].attributes.attachment_link.title
John Williams & Saito Kinen Orchestra - Schindler’s List (Live at Suntory Hall, 2023)

# data[].attributes.attachment_link.title
Hans Zimmer - Interstellar (Royal Albert Hall Organ)

# data[].attributes.attachment_link.readable_text
Hans Florian Zimmer (German pronunciation: [ˈhansˈfloːʁi̯aːnˈtsɪmɐ] ; born 12 September 1957) is a German film score composer and music producer. He has won two Oscars and four Grammys, and has been nominated for three Emmys and a Tony. Zimmer was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph in 2007.

His works are notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980s, Zimmer has composed music for over 150 films. He has won two Academy Awards for Best Original Score for The Lion King (1994), and for (2021). His works include , The Last Samurai, the Pirates of the Caribbean series, The Dark Knight trilogy, , Man of Steel, Interstellar, , and No Time to Die.

Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks Pictures and DreamWorks Animation studios and works with other composers through the company that he founded, Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California, has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.

Zimmer has collaborated on multiple projects with directors including Christopher Nolan, Ridley Scott, Ron Howard, Gore Verbinski, Michael Bay, Guy Ritchie, and Denis Villeneuve.

Zimmer was born on 12 September 1957 in Frankfurt, West Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home but had piano lessons only briefly, as he disliked the discipline of formal lessons. In one of his Reddit AMAs, he said: "My formal training was two weeks of piano lessons. I was thrown out of eight schools. But I joined a band. I am self-taught. But I've always heard music in my head. And I'm a child of the 20th century; computers came in very handy." Zimmer attended the Ecole d'Humanité, an international boarding school in Canton Bern, Switzerland.

He moved to London as a teenager and attended Hurtwood House school. During his childhood, he was strongly influenced by the film scores of Ennio Morricone and has cited Once Upon a Time in the West as the score that inspired him to become a film composer.

In a speech at the 1999 Berlin Film Festival, Zimmer stated that he is Jewish, and talked about his mother surviving World War II thanks to her escape from Germany to England in 1939. In an interview in May 2014, Zimmer revealed that it was difficult growing up in post-War Germany being Jewish and said, "I think my parents were always wary of me telling the neighbors" that they were Jewish. In an interview with Mashable in February 2013, he said of his parents: "My mother was very musical, basically a musician and my father was an engineer and an inventor. So I grew up modifying the piano, shall we say, which made my mother gasp in horror, and my father would think it was fantastic when I would attach chainsaws and stuff like that to the piano because he thought it was an evolution in technology." In an interview with the German television station ZDF in 2006, he said: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."

Zimmer began his career playing keyboards and synthesizers in the 1970s, with the band Krakatoa. He worked with the Buggles, a new wave band formed in London in 1977 with Trevor Horn, Geoff Downes and Bruce Woolley. Zimmer can be seen briefly in the Buggles' music video for the 1979 song " Video Killed the Radio Star". After working with the Buggles, he started to work for the Italian group Krisma, a new wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma's third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox). Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the Mecano: En Concierto album released in 1985 only in Spain. In 1985, he contributed to the Shriekback album Oil and Gold. In 1980, Zimmer co-produced a single, " History of the World, Part 1", with, and for, UK punk band The Damned, which was also included on their 1980 LP release, The Black Album, and carried the description of his efforts as "Over-Produced by Hans Zimmer."

While living in London, Zimmer wrote advertising jingles for Air-Edel Associates. In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co-founded the London-based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments. Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success Is the Best Revenge (1984), Insignificance (1985), and My Beautiful Laundrette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score.

One of Zimmer's most durable works from his time in the United Kingdom was the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: " Going for Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."

A turning point in Zimmer's career occurred with the 1988 film . Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-apartheid drama A World Apart, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work and hired him to score Rain Man. In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?" Zimmer's score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.

A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy's instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound on Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS-20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."

"I listen to [Zimmer's] music and I don't even have to shut my eyes. I can see the pictures. And that's why, in many respects, I know I can talk pictures with Hans. He responds to pictures."

-Ridley Scott, director and producer and frequent collaborator with Zimmer.
The soundtrack to Ridley Scott's 1991 film Thelma & Louise by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes and . Zimmer wrote the theme for Tony Scott's 1993 film True Romance, which he based on Carl Orff's Gassenhauer. Gassenhauer had previously been used in the 1973 film , which had a similar story of a young man and a girl on the run following a violent crime. The catchy theme, played on nine marimbas, contrasts starkly with the violence of the film.

For the 1992 film The Power of One, Zimmer travelled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Walt Disney Feature Animation approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organised during a visit by Lebo M. Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998. As of April 2012, the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million.

Zimmer's score for Tony Scott's 1995 film Crimson Tide won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music. Zimmer's next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.

Zimmer's score for the 1998 film The Thin Red Line is regarded as one of his most important works. The nine-minute cue at the climax of the film, "The Journey to the Line", uses a recurring theme based on four chords, combined with a "ticking clock" motif that has been featured in a range of subsequent scores composed by Zimmer. The piece has been used in numerous trailers and video games, and has earned the nickname "the forbidden cue" due to the tendency of film makers to use it as a temp track for dramatic scenes.

Zimmer at The Dark Knight premiere in 2008

In the 2000s, Zimmer composed scores for Hollywood blockbuster films including three Ridley Scott films, (2000), Black Hawk Down and (2001), followed by The Last Samurai (2003), Madagascar (2005), The Da Vinci Code (2006), The Simpsons Movie (2007), Kung Fu Panda (2008), which he co-composed with John Powell, Angels & Demons (2009), and Sherlock Holmes (2009). Other work in the 2000s included the Spanish language film Casi Divas, and The Burning Plain (2009). He composed the theme for the television boxing series The Contender and worked with Lorne Balfe on the music for Call of Duty: Modern Warfare 2, which was his first video game project. Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game .

In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent. While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.

During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, Days of Thunder, and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score. Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen. Zimmer was hired as the composer for the three subsequent films in the series, Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), and Pirates of the Caribbean: On Stranger Tides (2011), collaborating with Rodrigo y Gabriela for the last.

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), which he co-composed with James Newton Howard. For the soundtrack of The Dark Knight, Zimmer decided to represent the villain of the Joker by a single note played on the cello by his long-time colleague Martin Tillman. Zimmer said: "I wanted to write something people would truly hate." The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet. Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative and that it was important to credit a range of people who had played a part in its production. Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles - not having "you are the composer, you are the arranger, you are the orchestrator" - it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits.

For the 2009 film Sherlock Holmes, Daily Variety reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness". For the 2011 sequel, Sherlock Holmes: A Game of Shadows, Zimmer and director Guy Ritchie incorporated authentic Romani music, which they researched by visiting Slovakia, Italy, and France. The music in the film is played by Romani virtuoso musicians.

For the 2010 film , Zimmer used electronic manipulation of the song " Non, je ne regrette rien". The horn sound in the score, described by Zimmer as "like huge foghorns over a city" became a popular feature in film trailers. "It's funny how that sort of thing becomes part of the zeitgeist", he said. "But I suppose that's exactly what trailers are looking for: something iconic, lasts less than a second, and shakes the seats in the theater."

In 2012, Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes. He also composed a new version of the theme music for ABC World News. Zimmer also composed the score for The Dark Knight Rises, the final instalment of Christopher Nolan's The Dark Knight Trilogy. The film was released in July 2012. Zimmer described himself as "devastated" in the aftermath of the 2012 Aurora, Colorado shooting, which occurred at a screening of The Dark Knight Rises: "I just feel so incredibly sad for these people." He recorded a track entitled "Aurora", a choral arrangement of a theme from the Dark Knight Rises soundtrack, to raise money for the victims of the shooting.

Zimmer co-composed the music for the television series , which was broadcast in March 2013, with Lorne Balfe and Lisa Gerrard, and the score for 12 Years a Slave, which won the Academy Award for Best Picture in March 2014. Zimmer composed the Tomorrowland Hymn for the Tomorrowland festival to celebrate its tenth anniversary in July 2014.

Zimmer composed the music for the 2014 film The Amazing Spider-Man 2 alongside "The Magnificent Six", which consisted of Pharrell Williams, Johnny Marr, Michael Einziger, Junkie XL, Andrew Kawczynski, and Steve Mazzaro. Zimmer also composed the music for Christopher Nolan's 2014 filmInterstellar, which earned him another Academy Award nomination for Best Original Score. He partnered with Junkie XL to compose the music for the 2016 film Batman v Superman: Dawn of Justice. In an interview with BBC News in March 2016, Zimmer said that he was retiring from composing the music for superhero films, saying of Batman v Superman: "This one was very hard for me to do, to try to find new language".

Zimmer composed the main theme for the 2016 BBC nature documentary Planet Earth II, presented by David Attenborough. He later composed the score for the 2017 BBC nature documentary Blue Planet II alongside Jacob Shea and David Fleming, also presented by David Attenborough. In an interview with Kirsty Wark on BBC Radio, Zimmer said in October 2022: "I think the only work that I've done that's worth anything is working for Sir David Attenborough on those programmes, because it's the only thing that actually means something to this world and ultimately might have an impact on how we approach this world."

Zimmer composed the main theme for the 2016 Netflix production . Also in 2016 Zimmer released an online course teaching the basics of film scoring. He next composed the score for Christopher Nolan's 2017 film , basing part of the score on a recording of a ticking watch that he had been given by Nolan. Zimmer also worked on the score for Denis Villeneuve's Blade Runner 2049. Hans Zimmer and co-composer Benjamin Wallfisch took over scoring duties after Jóhann Jóhannsson left the project.

In 2018, Zimmer composed the score for the new FIFA Anthem, called "Living Football" in reference to the new motto of FIFA, "Living Football" was also used as television intro theme for the 2018 FIFA World Cup in Russia. Also in 2018, Zimmer remixed the UEFA Champions League Anthem with rapper Vince Staples for EA Sports' FIFA video game , with it also featuring in the game's reveal trailer. Zimmer composed the score for Dark Phoenix, directed by Simon Kinberg, contrary to his 2016 statements of not scoring another superhero film following his experience working on Batman v Superman: Dawn of Justice. Also for 2019, he scored the photorealistic computer-animated remake of Disney's The Lion King, directed by Jon Favreau.

On 22 August 2018, Zimmer was also announced as the composer for Wonder Woman 1984. On 18 March 2019, it was announced that Zimmer would be scoring Denis Villeneuve's . In June 2019, Zimmer was hired to create sounds for BMW's concept vehicle, the Vision M Next.

In 2020, Zimmer composed the score for Hillbilly Elegy.

On 6 January 2020, it was announced that he would be taking over as composer for the film No Time to Die after previous composer Dan Romer left the project. Speaking on scoring for No Time To Die, Zimmer told , "Having done the three Batman movies - which are three movies to you but are 12 years of my life to me - I really understand where Daniel [Craig] was with this; he dedicated 16 years of his life to Bond... I wanted to not only do a good score but dig a little deeper and honour the man, the work and all the people who've been working on this for so long".

On 26 February 2020, Major League Soccer released an anthem for its 25th season, which was composed by Zimmer.

Zimmer also composed the score for the film (2021), which earned him his second Academy Award for Best Original Score. The film's music was released in several different volumes. He also composed the score for the sequel, released in 2024. As of 2024, Zimmer has begun writing music for a potential third Dune film while Villeneuve has started on the film's script.

In 2022, he collaborated with Camila Cabello on the song "Take Me Back Home" for the documentary series Frozen Planet II. Zimmer worked on the 2022 film Top Gun: Maverick, contributing to the main title credits and other tracks.

Zimmer has also produced and composed sounds for BMW's electric car line. These sounds are both for those on the interior and on the exterior, and could help warn pedestrians that an electric car is approaching.

Zimmer's first wife was model Vicki Carolin, with whom he has a daughter. The couple divorced in 1992. On 3 April 2020, Zimmer filed for divorce from his second wife, Suzanne Zimmer, with whom he has three children. On 15 June 2023, Zimmer proposed to his partner Dina De Luca on stage at London's O2 Arena during one of his shows. He settled in California and became a naturalized US citizen.

Zimmer's Star on the "Boulevard der Stars" in Berlin

Zimmer has received a range of honours and awards, including the Max Steiner Film Music Achievement Award at Hollywood in Vienna in 2018, the Career Achievement Award "for excellence in film music composition" from the National Board of Review in 2003, the Frederick Loewe Award for Film Composing at the Palm Springs International Film Festival in 2003, the ASCAP Henry Mancini Award in 2003, and the Richard Kirk Career Achievement Award from the BMI Film Music Awards in 1996.

In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long-term friend Ronni Chasen, who had been shot and killed in Beverly Hills the previous month.

In June 2016, Zimmer was one of the inaugural winners of the Stephen Hawking Medal for Science Communication.

In November 2017, a main-belt asteroid-(495253) 2013 OC₈-discovered by Polish astronomers Michał Kusiak and Michał Żołnowski, was named "Hanszimmer".

As of 2022, Zimmer has received twelve Academy Award nominations for his work, with two wins; the first being at the 67th Academy Awards for the 1994 film The Lion King and the second being for the 2021 film at the 94th Academy Awards.

On 2 October 2018, Zimmer received the Order of Merit of the Federal Republic of Germany.

In 2019, Zimmer was inducted as a Disney Legend.

# data[].attributes.attachment_link.description
Hans Florian Zimmer (German pronunciation: [ˈhansˈfloːʁi̯aːnˈtsɪmɐ] ; born 12 September 1957) is a German film score composer and music producer. He has won two Oscars and four Grammys, and has been nominated for three Emmys and a Tony. Zimmer was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph in 2007.

# data[].attributes.body
En una entrevista amb la cadena de televisió alemanya ZDF en 2006, va comentar: "El meu pare va morir quan jo era a penes un xiquet, i em vaig refugiar d'alguna manera en la música i la música ha sigut la meua millor amiga", Zimmer és d'origen jueu reconeixent en diverses entrevistes estar orgullós de tindre esta *religión3​

De xicotet va rebre classes de piano, més tard es va traslladar a Londres entrant en el món de la música durant una llarga col·laboració amb el seu mentor Stanley Myers. En la dècada de 1970, va integrar la banda Krakatoa, al costat de Nigel Glockler i Dave Poxon, futurs bateria i manager de Saxon, respectivament. Al començament dels huitanta es va submergir en el món del synthpop i new wave, formant The Camera Club amb Bruce Woolley, de The Buggles, i Thomas Dolby, i després, Helden, al costat de Warren Cann, bateria de Ultravox, i Zaine Griff. Cal destacar que va acompanyar al grup espanyol Mecano en un concert celebrat a Segòvia el 8 de novembre de 1984 i que va col·laborar amb Nacho Cano en la producció del tema instrumental que obri l'àlbum homònim On està el país de les fades?4​ En 1986, va fer el seu primer treball autònom en Vardo, encara que va continuar col·laborant amb Myers fins a 1988. També va aparéixer quan tenia vint-i-dos anys en el vídeo musical de la famosa cançó "Vídeo Killed the Ràdio *Star", en el minut 2.53, tocant el piano elèctric.

# data[].attributes.body
Nascut a Kansas City, Missouri (els Estats Units), Basil Poledouris va tindre dos influències que ho van conduir cap a la música: la primera va ser el compositor hongarés Miklós Rózsa, conegut per les seues bandes sonores de pel·lícules (Quo vadis?, Ben-Hur i El Cid, entre altres) i la segona va ser la seua ascendència ortodoxa grega. Poledouris es va criar a l'església, i solia asseure's en els servicis captivat pels sons del cor. Va començar a rebre classes de piano amb set anys i finalment es va matricular en la Universitat del Sud de Califòrnia per a estudiar cinema i música. Nombrosos curts cinematogràfics en els quals va participar encara poden ser trobats en els arxius de la universitat. Allí va conéixer als directors John Milius i Randal Kleiser, amb els quals més tard va acabar col·laborant. En 1985 va fer la banda sonora dels senyors de l'acer (*Flesh & Blood), del director Paul Verhoeven, que va significar la primera trobada d'una productiva col·laboració posterior.

Poledouris va obtindre renom gràcies al seu poderós estil èpic de composició i el seu intricat disseny temàtic, va collir nombrosos èxits amb les bandes originals del llac blau (1980), Conan el Bàrbar (1982), Conan el Destructor (1984), Començar el dia roig (1984), RoboCop (1987), La caça de l'Octubre Roig (1990), Allibereu a Willy (1993) i les seues seqüeles, Starship Troopers (1997) i Entre l'amor i el joc (1999).

# data[].attributes.attachment_link.title
Conan The Barbarian | Soundtrack Suite (Basil Poledouris)

# data[].attributes.body
Howard Leslie Shore (Toronto; 18 d'octubre de 1946) és un compositor i saxofonista canadenc, conegut per les seues bandes sonores per a pel·lícules. Ha compost les partitures de més de huitanta pel·lícules, entre elles El silenci dels corders i les pel·lícules del Senyor dels Anells, per les quals va obtindre tres Premis de l'Acadèmia. Alguna cosa més recentment va compondre també la banda sonora de la trilogia El hobbit. També és un col·laborador constant del director David Cronenberg, havent compost des de 1979 totes les partitures de les seues pel·lícules, a excepció d'una.

També ha compost obres de concert, incloent-hi una òpera, The Fly, basada en la trama, encara que no en la banda sonora, de la pel·lícula de Cronenberg de 1986, estrenada en el Théâtre du Châtelet de París el 2 de juliol de 2008;1​ una peça curta titulada «Fanfare for the Wanamaker Organ» per a l'Orquestra de Filadèlfia; i una breu obertura per a l'Orquestra de la Suisse Romande.

# data[].attributes.attachment_link.title
The Lord Of The Rings Trilogy Complete Soundtrack || Howard Shore || 432.001Hz || 2001 - 2003 ||

# data[].attributes.attachment_link.readable_text
Howard Leslie Shore (born October 18, 1946) is a Canadian composer and conductor noted for his film scores. He has composed the scores for over 80 films, most notably the scores for The Lord of the Rings and film trilogies. He won three Academy Awards for his work on the first trilogy, with one being for the original song " Into the West", an award he shared with Eurythmics lead vocalist Annie Lennox and writer/producer Fran Walsh, who wrote the lyrics. He is also a consistent collaborator with director David Cronenberg, having scored all but one of his films since 1979.

Shore has also composed a few concert works including one opera, , based on the plot of Cronenberg's 1986 film premiered at the Théâtre du Châtelet in Paris on July 2, 2008, a short piece Fanfare for the Wanamaker Organ and the Philadelphia Orchestra, and a short overture for the Swiss 21st Century Symphony Orchestra. Shore has also composed for television, including serving as the original musical director for the American sketch comedy show Saturday Night Live from 1975 to 1980.

In addition to his three Academy Awards, Shore has also won three Golden Globe Awards and four Grammy Awards.

Howard Shore was born in Toronto, Ontario, Canada, the son of Bernice (née Ash) and Mac Shore. Shore is Jewish. He started studying music at the age of 8 or 9. He learned a multitude of instruments and began playing in bands at the ages of 13 and 14. When Shore was 13, he met and became good friends with a young Lorne Michaels in summer camp, and this friendship would later be influential in his career. By 17, he decided he wanted to pursue music in his adult life too. He studied music at Berklee College of Music in Boston after graduating from Forest Hill Collegiate Institute.

From 1969 to 1972, Shore was a member of the jazz fusion band Lighthouse. In 1970, he became the music director for Lorne Michaels and Hart Pomerantz's short-lived TV program The Hart & Lorne Terrific Hour. Shore wrote the music for Canadian magician Doug Henning's magic musical Spellbound in 1974 and, from 1975 to 1980, he was the musical director for Lorne Michaels' influential late-night NBC comedy show Saturday Night Live, appearing in many musical sketches, including Howard Shore and His All-Nurse Band, and dressed as a beekeeper for a John Belushi/ Dan Aykroyd performance of the Slim Harpo classic " I'm a King Bee". Shore also suggested the name for The Blues Brothers to Dan Aykroyd and John Belushi.

Shore's first film score was to the low budget thriller I Miss You, Hugs and Kisses (1978), followed by David Cronenberg's first major film, (1979). He would go on to score all of Cronenberg's subsequent films, with the exception of The Dead Zone (1983), which was scored by Michael Kamen. The first film he scored that was not directed by Cronenberg was Martin Scorsese's After Hours (1985). Following that, he scored (1986), again directed by Cronenberg. Two years later, he composed the score to (1988), directed by Penny Marshall and starring Tom Hanks. He then scored two more of David Cronenberg's films: Dead Ringers (1988) and Naked Lunch (1991).

During 1991, Shore composed the score for the highly acclaimed film The Silence of the Lambs, starring Jodie Foster and Anthony Hopkins, and directed by Jonathan Demme. He received his first BAFTA nomination for the score. The film became the third (and most recent) to win the five major Academy Awards (Best Picture, Best Director, Best Screenplay, Best Actor, and Best Actress). Shore is the only living composer to have scored a "Top Five" Oscar-winning film.

During 1993, he composed the scores for M. Butterfly (another collaboration with Cronenberg), Philadelphia (his second collaboration with Jonathan Demme), and Mrs. Doubtfire, directed by Chris Columbus. The latter two films were highly successful, Philadelphia winning Tom Hanks his first Oscar.

Shore scored another three films in 1994: , , and Nobody's Fool. Ed Wood is notable for being one of the three films directed by Tim Burton that did not feature a score by Danny Elfman.

Shore continued to score numerous films from 1995 to 2001, including two David Fincher films, (1995) and (1997), and The Truth About Cats and Dogs (1996), directed by Michael Lehmann; he also collaborated on two films with Cronenberg, along with Tom Hanks' directorial debut, That Thing You Do!. He scored Kevin Smith's Dogma (1999). Shore also composed the score of the 2000 film .

Major success came in 2001 with his score to The Lord of the Rings: The Fellowship of the Ring, the first film in the highly acclaimed The Lord of the Rings trilogy. The news that Shore would score the trilogy surprised some, since he was primarily associated with dark, ominous films and had never scored an epic of this scale. However, the score was hugely successful and won Shore his first Oscar, as well as a Grammy Award, and garnered Shore nominations for a Golden Globe and a BAFTA. The music editor on the trilogy was Suzana Peric. An excerpt from The Bridge of Khazad-Dûm was used in a teaser for 2013's Superman film, Man of Steel.

The following year, Shore composed the scores to , Gangs of New York (replacing Elmer Bernstein), and The Lord of the Rings: The Two Towers, the second film in the trilogy. (The latter two films were both nominated for the Academy Award for Best Picture.) Initially, Shore's score for The Two Towers was going to be deemed ineligible for submission to the Academy, due to a new rule that disallowed the submission of scores which contained themes from previous work. However, the implementation of this rule change was subsequently postponed, meaning the score remained eligible. Ultimately, The Two Towers score did not receive an Academy Award nomination; Shore did, however, receive a BAFTA nomination for Gangs of New York.

In 2003, he composed the score for the final film in The Lord of the Rings trilogy, The Lord of the Rings: The Return of the King. The film was the most successful film in the trilogy and the most successful of the year. Shore won his second Oscar for Best Original Score, as well as a third for Best Original Song for " Into the West", which he shared with Fran Walsh and Annie Lennox. Shore also won his first Golden Globe, his third and fourth Grammy (the fourth for Best Song), and was nominated for a third BAFTA. The scores of The Lord of the Rings, performed primarily by the London Philharmonic Orchestra, became one of the most successful film scores ever written and the biggest success in Shore's career. The score has been repeatedly voted to be the best film score, and the review site Filmtracks named Shore's score "arguably the most respected and impressive trilogy of music of all time: Howard Shore's massive work for Peter Jackson's The Lord of the Rings."

In 2004, Shore again collaborated with Martin Scorsese, scoring his epic film The Aviator, this time with the Brussels Philharmonic. He won a second Golden Globe for the score, becoming the third composer to have won consecutive Golden Globes in the Original Score category. He also received his sixth Grammy nomination, and his fifth BAFTA nomination.

He collaborated again with David Cronenberg in 2005 to score A History of Violence, starring Viggo Mortensen. The film was a success and received two Oscar nominations. In 2006, he collaborated for the fourth time with Martin Scorsese, this time to score The Departed. The film was highly successful and won four Oscars, including a long-awaited win for Scorsese, and Best Picture.

Although Shore was originally commissioned to compose the soundtrack for , he was later replaced by James Newton Howard due to "differing creative aspirations for the score" on his and the filmmakers' parts. This was a mutual agreement between himself and Peter Jackson. Despite this, Shore has a cameo near the end of the film as the conductor of the orchestra in the theater, performing portions of Max Steiner's score to the original 1933 version of the film.

2007-present

In 2007, Shore composed the music for Soul of the Ultimate Nation, an online multiplayer video game. The soundtrack is notable for being the first video game soundtrack to feature Lydia Kavina on the theremin. During 2007 he also composed the scores for The Last Mimzy and Eastern Promises, the latter of which includes a section that has been performed in concert as Shore's Concertino for violin solo and chamber orchestra. Eastern Promises was another collaboration with David Cronenberg and earned Shore his fourth Golden Globe nomination. In 2008, he scored , starring Meryl Streep and directed by John Patrick Shanley. The film was a success, earning five Oscar nominations.

In 2010, Shore composed the score to , the third installment in the Twilight film series, following Carter Burwell and Alexandre Desplat, who scored the first and second films, respectively. He also replaced John Corigliano to score Edge of Darkness, starring Mel Gibson.

Shore's 2011 projects were A Dangerous Method, continuing his long-term collaboration with director David Cronenberg. He also composed the score to Martin Scorsese's , his fifth collaboration with the director, which earned him a sixth Golden Globe nomination and fourth Oscar nomination.

He also composed the score to Peter Jackson's film series.

Since 2004, he has toured the world conducting local orchestras in the performance of his new symphonic arrangement of his highly acclaimed Lord of the Rings scores. The new work is entitled The Lord of the Rings: Symphony in Six Movements. There are two movements for each of the movies, and an intermission between the second and third (or first and second film titles) movements. The concert presentation of the symphony also includes projected still images of sketches by John Howe and Alan Lee relating the music being performed to scenes from the films. Recently, however, Shore has been busy with other projects, leaving other conductors including Markus Huber, Ludwig Wicki, Alexander Mickelthwaite, and John Mauceri to lead the orchestras.

April 24, 2008 marked the North American Live to Projection debut of Fellowship of the Ring, with the score performed live by the Winnipeg Symphony Orchestra, conducted by Ludwig Wicki. Wicki also conducted the Filene Center Orchestra at the Wolf Trap Farm Park in Vienna, Virginia on May 21 and 22, 2008 in the U.S. premiere of the Fellowship of the Ring Live to Projection.

September 16, 2010 Shore conducted the RSO Vienna (Vienna Radio Symphony Orchestra) which performed "In Dreams from The Fellowship of the Ring" at Hollywood in Vienna in Vienna, Austria. Shore was commissioned by Macy's to write a Fanfare for the Store's 150th anniversary featuring the Philadelphia Orchestra and the Wanamaker Organ, the world's largest playing pipe organ. The work was debuted in the Grand Court of Macy's Philadelphia Store on September 27, 2008 in a concert that drew reviews from most of the major East Coast newspapers.

Shore's opera The Fly had its world premiere performance at the Théâtre du Châtelet in Paris on July 2, 2008 and its United States premiere at Los Angeles Opera on September 7, 2008. The production was directed by David Cronenberg and conducted by Plácido Domingo. The Fly had a new production mounted by Theatre Trier in Germany in 2014 staged by Sebastian Welker and conducted by Joongbae Jee.

Shore was commissioned by the Beijing Music Festival to write Ruin and Memory, a piano concerto, for the pianist Lang Lang. The world premiere was on October 11, 2010 performed by Lang Lang, The China Philharmonic Orchestra and conducted by Long Yu. His second concerto, Mythic Gardens, premiered April 27, 2012 with Sophie Shao on cello solo, The American Symphony Orchestra and conducted by Leon Botstein.

Shore's song cycle A Palace Upon the Ruins premiered in 2014 at the Bridgehampton Chamber Music Festival and at the La Jolla SummerFest featuring mezzo-soprano Jennifer Johnson Cano. A Palace Upon the Ruins is a song cycle of six songs with words by Elizabeth Cotnoir.

Sea to Sea was commissioned by New Brunswick Youth Orchestra in celebration of Canada's 150th anniversary of confederation and premiered on July 2, 2017 in Moncton, New Brunswick with soloist Measha Brueggergosman and Antonio Delgado conducting. Sea to Sea has lyrics by Elizabeth Cotnoir.

The song cycle L'Aube premiered October 19 & 20, 2017 in Toronto at Roy Thompson Hall conducted by Peter Oundjian and performed by soloist Susan Platts and commissioning orchestra, the Toronto Symphony Orchestra. L'Aube consists of five songs with text by Elizabeth Cotnoir.

The Forest a guitar concerto composed for Miloš Karadaglić will premiere in Ottawa on May 1 & 2, 2019 with the National Arts Centre Orchestra and Alexander Shelley conducting.

In addition to writing the original theme song for Saturday Night Live, as well as the closing theme, Shore also co-wrote the theme song for Late Night with Conan O'Brien with John Lurie. The theme was carried over to The Tonight Show when O'Brien succeeded Jay Leno as host.

Shore narrated a one-hour CBC Radio documentary/soundscape on music in thriller/suspense film genres also including references to radio dramas and other media. The episode was called "Unsettling Scores" and premiered on the program called Inside the Music.

Shore is married to Elizabeth Cotnoir, a writer, producer and documentary filmmaker. He has a daughter, Mae. He is the uncle of film composer Ryan Shore.

As of 2004, Shore lives in Tuxedo Park, New York.

Television films and series

Video games

Shore has received four Academy Award nominations, winning three, two for Best Original Score, for The Lord of the Rings: The Fellowship of the Ring (2001), and The Lord of the Rings: The Return of the King (2003). He also won the Oscar for Best Original Song for " Into the West" from The Lord of the Rings: The Return of the King. He received his fourth nomination for his work on .

Shore has also received six Golden Globe nominations, winning three consecutive awards for Best Original Score and Best Original Song - "Into the West" for The Lord of the Rings: The Return of the King (2003) and The Aviator (2004), making him the second composer (after Alan Menken) to have received consecutive Golden Globe Awards for Best Original Score. He also won three consecutive Grammy Awards for Best Score for each of the Lord of the Rings films, and received a second award in 2003 for the song "Into the West" from "Return of the King" in the category of Best Song. He has also received five BAFTA nominations, but has not won.

On June 11, 2007, Shore was awarded an Honorary Doctor of Letters Degree from York University in Toronto for "his sweeping artistic vision".

Shore has also been honored with awards from The National Board of Review, Recording Academy Honors, The Broadcast Film Critics, Chicago Film Critics, Genie Award, World Soundtrack Award, New York's Gotham Award, and The Saturn Award for Science Fiction.

Shore is the first recipient of the Film & TV Music Award for Best Score for a Science Fiction Feature Film for The Last Mimzy.

In May 2008, he was awarded an Honorary Doctorate of Music from Berklee College of Music during Berklee's commencement ceremony at the Agganis Arena.

On September 16, 2010 he was awarded the Max Steiner Film Music Achievement Award by the City of Vienna at the yearly film music gala concert Hollywood in Vienna.

In 2012, he received Canada's Governor General's Performing Arts Awards for Lifetime Artistic Achievement.

In 2016, he was appointed as an Officer of the Order of Canada for his work towards the film and music industry.

# data[].attributes.attachment_link.description
Howard Leslie Shore (born October 18, 1946) is a Canadian composer and conductor noted for his film scores. He has composed the scores for over 80 films, most notably the scores for The Lord of the Rings and film trilogies.

# data[].attributes.body
Alan Anthony Silvestri (Nova York, 26 de març de 1950) és un compositor musical de bandes sonores estatunidenca. Silvestri és conegut per les seues nombroses col·laboracions amb Robert Zemeckis, especialment Forrest Gump (1994), la trilogia de Back to the Future (1985, 1989 i 1990), Contact (1997), Nàufrag (2000), The Polar Express (2004) i Beowulf (2007). També són populars els seus treballs en Depredador (1987), Depredador 2 (1990), Capità Amèrica: el primer venjador (2011), The Avengers (2012), Avengers: Infinity War (2018) i Avengers: Endgame (2019). Ha rebut dos nominacions als Oscar i dos als *Grammy.

# data[].attributes.attachment_link.title
Alan Silvestri - Suite From The Polar Express (Official Audio)

# data[].attributes.attachment_link.readable_text
Alan Anthony Silvestri (born March 26, 1950) is an American composer and conductor of film and television scores. He has been associated with director Robert Zemeckis since 1984, composing music for all of his feature films including the Back to the Future film series, Who Framed Roger Rabbit, Forrest Gump, , and The Polar Express. Silvestri also composed many other popular movies, including , , Father of the Bride, The Bodyguard, The Parent Trap, Stuart Little, The Mummy Returns, Lilo & Stitch, Night at the Museum, G.I. Joe: The Rise of Cobra, Ready Player One, and several Marvel Cinematic Universe films, including the films.

He is a two-time Academy Award and Golden Globe Award nominee, and a three-time Saturn Award and two-time Primetime Emmy Award recipient.

Silvestri's grandparents emigrated in 1909 from the Italian town of Castell'Alfero, and settled in Teaneck, New Jersey. He grew up in Teaneck, and graduated in 1968 from Teaneck High School. He attended Berklee College of Music for two years. He was a drummer for a short time in 1966 with Teaneck-based rock band The Wildcats.

Silvestri moved to Los Angeles in 1970. "I came to Hollywood in 1970 broke...I didn't even have any goals or plans. I didn't even go to movies. And I knew nothing about composers or composing," he said. In 1972, while he was working intermittently as a session guitarist, the producer of the low-budget action film The Doberman Gang asked him to score the picture. Silvestri agreed, despite a lack of experience: "I went out and bought a how-to-compose book by Earl Hagen... At one point I was using beer cans for percussion."

From 1978 to 1983, Silvestri was the main composer for the television series CHiPs, writing music for 95 of the show's 139 episodes.

Silvestri met film director Robert Zemeckis when they worked together on Zemeckis's film Romancing the Stone (1984). Since then, he has composed the music for all of Zemeckis's movies, including the Back to the Future trilogy (1985-1990), Who Framed Roger Rabbit (1988), Death Becomes Her (1992), Forrest Gump (1994), (1997), (2000), The Polar Express (2004), (2007), A Christmas Carol (2009), (2012) and (2015).

In 1989, Silvestri composed the score for the James Cameron-directed film . Since 2001, he has also collaborated regularly with director Stephen Sommers, scoring the films The Mummy Returns (2001), Van Helsing (2004) and G.I. Joe: The Rise of Cobra (2009).

Silvestri has composed the scores for four Marvel Cinematic Universe films: Captain America: The First Avenger (2011), The Avengers (2012), Avengers: Infinity War (2018), and Avengers: Endgame (2019). His themes and motifs from those films have been referenced and reprised by other composers in multiple other MCU films.

Silvestri has also composed music for television series, including (one episode), Starsky & Hutch (three episodes), Tales from the Crypt (seven episodes). In 2014, he composed the award-winning music for the science documentary series Cosmos: A Spacetime Odyssey. He wrote new songs with Glen Ballard for the live-action film adaptation of Disney's .[citation needed ]

Silvestri and his wife Sandra own a vineyard, Silvestri Vineyards, in Carmel Valley, California. He also has a wine tasting room for his vineyards on the ground floor of the Enchanted Oaks Building. He has a daughter and two sons. A licensed pilot, he flies his own jet aircraft.

Silvestri has received two Academy Award nominations: Best Original Score for Forrest Gump (1994); and Best Original Song for " Believe" on The Polar Express soundtrack. He also received two Golden Globe nominations: Best Score for Forrest Gump and Best Song for The Polar Express.

Silvestri received an Honorary Doctorate of Music from Berklee College of Music in 1995.

He has also received nine Grammy Award nominations, winning two awards: Best Song Written for a Motion Picture, Television or Other Visual Media for "Believe" from The Polar Express in 2004; and Best Instrumental Composition for "Cast Away End Credits" from Cast Away in 2002. His other nominations were for Best Album of Original Score Written for a Motion Picture or a Television Special and Best Instrumental Composition, for Back to the Future in 1985, Best Album of Original Instrumental Background Score Written for a Motion Picture or Television, for Who Framed Roger Rabbit in 1988, Best Instrumental Composition, for "Who Framed Roger Rabbit Suite" in 1989, Best Pop Instrumental Performance, for "I'm Forrest...Forrest Gump (The Feather Theme)" in 1994, Best Instrumental Composition, for Avengers: Infinity War in 2018 and Best Score Soundtrack For Visual Media, for Avengers: Endgame in 2019. During the 2005 Grammy Awards, Josh Groban performed "Believe".

He has won two Emmys, both for Cosmos: A Spacetime Odyssey - Outstanding Main Title Theme Music and Outstanding Music Composition for a Series for the episode " Standing Up in the Milky Way".

He has won the Saturn Award for Best Music three times, for his scores for (1987), Back to the Future Part III (1989/90) and Van Helsing (2004).

On September 23, 2011, he received the Max Steiner Film Music Achievement Award from the City of Vienna the yearly film-music gala concert Hollywood in Vienna.

# data[].attributes.attachment_link.description
Alan Anthony Silvestri (born March 26, 1950) is an American composer and conductor of film and television scores. He has been associated with director Robert Zemeckis since 1984, composing music for all of his feature films including the Back to the Future film series, Who Framed Roger Rabbit , Forrest Gump , , and The Polar Express .

# data[].attributes.body
James Roy Horner (Los Angeles, Califòrnia; 14 d'agost de 1953 - Bosc nacional Els Pares, Califòrnia; 22 de juny de 2015) va ser un dels millors compositors de bandes sonores i director d'orquestra estatunidenca. Entre les més de cent partitures per a cinema que va crear destaquen les de *Titanic, que és la banda sonora més venuda de la història,2​3​ i la d'Avatar, la pel·lícula més taquillera de tots els temps,4​ tots dos films del director James Cameron.

Va ser nominat als Premis Óscar en 10 ocasions, dos d'elles en l'apartat de millor cançó original, per An American Tail (1986) i Titanic, per la cançó «*My Heart Will Go On» (1997), i huit en l'apartat a la millor banda sonora: Aliens (1986), Field of Dreams (1989), Braveheart (1995), Apol·lo 13 (1995), Titanic (1997), A Beautiful Mind (2001), Casa d'arena i boira (2003), Avatar (2009) i The Amazing Spider-Man (2012). Les seues dos estatuetes són per la pel·lícula Titanic.

# data[].attributes.attachment_link.description
Horner collaborated on multiple projects with directors including Don Bluth, James Cameron, Joe Johnston, Walter Hill and Ron Howard; producers including David Kirschner, Jon Landau, Brian Grazer and Steven Spielberg; and songwriters including Will Jennings, Barry Mann and Cynthia Weil.

# data[].attributes.attachment_link.authors[].name
University of California Television (UCTV)

# data[].attributes.attachment_link.readable_text
Carl Orff ( Múnich, 10 de julio de 1895- ibidem, 29 de marzo de 1982) fue un compositor alemán, cuyo trabajo puede ser enmarcado dentro de la corriente del neoclasicismo musical. Fue conocido por su obra Carmina Burana y también por desarrollar un sistema de enseñanza musical para niños (conocido como Orff Schulwerk o método Orff) que ha tenido notables resultados.

Carl Orff nació en Múnich el 10 de julio de 1895. Su familia era originaria de Baviera y estaba vinculada al ejército alemán. Orff comenzó a tocar el piano a la edad de cinco años y también tomó lecciones de órgano y chelo. Sin embargo, se mostró más interesado en la composición que en el estudio orientado a la interpretación instrumental. Por eso mismo, desde muy temprano Orff escribió y puso en escena obras de títeres para su familia, componiendo la música para piano, violín, cítara y glockenspiel para acompañar sus obras. Además, publicó en 1905 un cuento en una revista para niños y comenzó a escribir un libro acerca de la naturaleza mientras, en su tiempo libre, disfrutaba coleccionando insectos.

En 1912, a la edad de 16 años, comenzó a publicar parte de su música. Muchos de sus trabajos de juventud están inspirados en la poesía alemana. Por eso, se pueden clasificar dentro del estilo de Richard Strauss y otros compositores alemanes de la época, pero que ya muestran indicios de lo que sería el distintivo lenguaje musical de Orff.

En 1911-1912 Orff escribió Zaratustra, Op. 14, un amplio trabajo para barítono, tres coros y orquesta, inspirado en la obra filosófica de Friedrich Nietzsche Así habló Zaratustra.​​ En 1913 compuso una ópera o drama musical titulado Gisei, das Opfer ( Gisei, el sacrificio). Influenciado también por el compositor impresionista francés Claude Debussy, comenzó a utilizar inusuales y coloridas combinaciones de instrumentos en su orquestación.

El Musik-Lexikon de Moser señala que Orff estudió hasta 1914 en la Königlichen Akademie der Tonkunst (Academia de música de Múnich), ahora llamada Hochschule für Musik und Theater. Después sirvió en el ejército durante la Primera guerra mundial. Fue gravemente herido durante un bombardeo de artillería mientras se encontraba en una trinchera. Más adelante ocupó varios puestos en las óperas de Mannheim y Darmstadt​ y, finalmente, volvió a Múnich para proseguir sus estudios musicales.[cita requerida]

A mediados de la década de 1920 Orff comienza a formular un concepto que llamó elementare Musik (música elemental)​ que estaba basado en la unidad de las artes, simbolizado por las antiguas musas griegas (vocablo del cual proviene el nombre Música), involucrando al tono, la danza, la poesía, la imagen, el diseño y el gesto teatral. Como muchos otros compositores de la época, se vio influenciado por el émigré (emigrante) Ruso-Francés Igor Stravinsky. Pero mientras otros seguían el estilo neoclásico "fresco y balanceado" de algunos trabajos de Stravinsky, a Orff le interesaron más otras obras como , una evocación cuasi-folclórica a los antiguos ritos de boda. Entonces él comenzó a adaptar obras musicales de eras tempranas para la representación teatral en su tiempo, incluyendo la ópera de Claudio Monteverdi ( 1607). La versión alemana de Orff, Orpheus, fue puesta en escena en 1925 en Mannheim, Alemania bajo la dirección del propio Orff y usando algunos de los instrumentos utilizados en la ejecución original de 1607. Esta apasionada y declamada ópera de Monteverdi era prácticamente desconocida en los años 1920; sin embargo, la producción de Orff se encontró con reacciones que iban desde la incomprensión hasta la ridiculización.[cita requerida]

Tras fundar junto a Dorothee Günther en 1924 la Escuela Günther para gimnasia, música y danza en Múnich​, Orff fue jefe de departamento de dicha escuela hasta el fin de su vida. Allí trabajó con alumnos principiantes y desarrolló sus teorías en educación musical, teniendo un contacto constante con los niños. En 1930, Orff publicó un manual titulado , donde comparte su método educativo. Antes de escribir los Carmina Burana, Orff editó óperas del siglo XVII.

El trabajo más famoso de Orff, Carmina Burana, se basa en la homónima Carmina Burana, una colección de cantos goliardos de los siglos XII y XIII reunidos en el manuscrito encontrado en Benediktbeuern en el siglo XIX. Escritos por monjes y juglares, la colección atrajo a Orff por lo diverso de sus versos que eran tanto humorísticos, tristes o sugestivos. Entonces eligió unos veinte al azar[cita requerida] y los arregló en crudas canciones para solistas y coro, acompañados por instrumentos y mágicas imágenes.

Este trabajo ejemplifica la búsqueda de Orff por un idioma que pueda revelar el elemental poder de la música, permitiendo al oyente experimentar la música como una fuerza primitiva y abrumadora. La poesía de los Goliardos, que no solamente cantaba al amor y al vino, sino que también se burlaba de la clerecía, encajaba perfectamente en el deseo de Orff de crear una obra musical que apelara a la "musicalidad fundamental" que, como él creía, todo ser humano poseía. Absteniéndose de una desarrollada melodía y una compleja armonía [cita requerida] y articulando sus ideas musicales a través de sonidos básicos y patrones rítmicos fácilmente discernibles, Orff creó un idioma que muchos hallaron irresistible. A pesar del notable sentimiento "primitivo" de Carmina Burana, Orff creía que la profunda llamada de la música no era meramente física.Carl Orff

Carmina Burana forma la primera parte de la trilogía de las cantatas representadas llamadas ( Triunfos), todas basadas en textos latinos. Las otras dos partes son Catulli Carmina y Trionfo di Afrodite.[cita requerida] La primera representación, en 1937, fue un gran adelanto estilístico que trajo rápidamente fama a Orff. Además, Orff mismo [cita requerida] toma a Carmina Burana como el inicio real de su carrera y, por lo mismo, ordenó a su editor destruir todos sus trabajos previos, una orden que, afortunadamente, fue desoída.[cita requerida]

La relación de Orff con el fascismo alemán y el Partido Nacionalsocialista ha sido materia de un considerable debate y análisis. Sus Carmina Burana fueron muy populares en la Alemania nazi y su estreno en Fráncfort del Meno en 1937 fue causa de numerosas representaciones. Pero la composición, con sus ritmos poco usuales, fue también denunciada con argumentos racistas.[cita requerida] Orff fue uno de los pocos compositores alemanes bajo el régimen nazi que respondieron a la llamada oficial para escribir nueva música incidental para El sueño de una noche de verano después de que la música de Felix Mendelssohn fuera prohibida, mientras que otros rechazaron colaborar en esto.​ Los defensores de Orff alegan que el mismo ya se hallaba componiendo música para esta obra desde 1917 y 1927, mucho antes de que esto fuera un favor al gobierno nazi.

Los Carmina Burana hicieron que el nombre de Orff se difundiera por el ambiente cultural nazi. Además, Orff fue amigo de Kurt Huber, uno de los fundadores del movimiento de resistencia Die Weiße Rose (la Rosa Blanca), que fue condenado a muerte por la Corte del Pueblo Alemán y ejecutado por los nazis en 1943. Fortuitamente, Orff llamó a Huber a su casa el día anterior al arresto, mientras que la angustiada esposa de Huber le rogaba a Orff que usara sus influencias en ayuda de su esposo, a lo que Orff se negó. Si su amistad con Huber salía a luz, le contaba, él estaría "arruinado". La esposa de Huber no vio nunca más a Orff. Luego un Orff afligido por la culpa le escribía una carta a su amigo, implorando su perdón.​​

De esta época datan las dos óperas más conocidas de Orff, aunque él era reacio a llamarlas simplemente "óperas" en el sentido tradicional. Llamó a sus obras ( La luna, 1939) y ( La astuta, 1943), como Märchenoper ("ópera de cuento"). Ambas composiciones muestran el mismo sonido "intemporal", pues no emplean ninguna de las técnicas musicales del período en que se compusieron, con la intención de que fueran difíciles de definir como pertenecientes a una era en concreto.

Según el propio Orff, después de la Segunda Guerra Mundial se enfrentó a una posible pérdida de los derechos de autor de los Carmina Burana, debido a un oficial de la desnazificación que había sido miembro de la Rosa Blanca y estuvo involucrado en la resistencia.​ No existe evidencia acerca de esto más que su propia palabra, ya que lo contradicen otras fuentes. El historiador canadiense Michael H. Kater, sin embargo, expuso argumentos decisivos que afirmaban que Orff colaboró con las autoridades nazis,​ pero luego, en Composers of the Nazi era: Eight portraits ( 2000), Kater revoca hasta cierto punto estas acusaciones. Respecto a esto, la afirmación de Orff de que había sido antinazi durante la guerra fue aceptada por las autoridades de desnazificación norteamericanas que cambiaron su categoría previa de gray unacceptable a gray acceptable, permitiéndole continuar componiendo para presentaciones públicas.

Muchas de las obras posteriores de Orff - ( 1949), Oedipus der Tyrann ( 1959), Prometheus ( 1968) y De temporum fine comœdia ( 1971)- estaban basadas en textos o temas de la antigüedad. Las mismas extienden el lenguaje utilizado en la Carmina Burana de formas interesantes, pero son costosas de montar y no son óperas en el sentido convencional del término. Solo han sido representadas ocasionalmente, y principalmente, en Alemania.

Orff se casó cuatro veces. Sus parejas fueron: Alice Solscher con la que estuvo casado desde 1920- 1925, Alice Willer desde 1939- 1953, Luise Rinser desde 1954- 1959 y Liselotte Schmitz en 1960. Su única descendencia fue Godela, fruto del primer matrimonio, que nació en 1921. Orff acabó negando su relación con su hija. "Él tenía su vida y eso era todo", explica Godela a Tony Palmer en el documental O fortuna.​

Carl Orff murió a la edad de 86 años en Múnich el 29 de marzo de 1982. Su vida atravesó cuatro períodos históricos importantes: El Imperio alemán, la República de Weimar, la Alemania nazi y la Alemania Occidental de la posguerra. Orff fue enterrado en la capilla del monasterio de estilo barroco de Andechs, al sur de Múnich. Su lápida muestra escrito su nombre, las fechas de nacimiento y deceso y la inscripción latina Summus finis ('El fin más alto').

1. Alberto Fassone. "Orff, Carl." In Grove Music Online. Oxford Music Online, http://web.archive.org/web/http://www.oxfordmusiconline.com/subscriber/article/grove/music/42969 (accessed September 25, 2009).

2. Michael Kugler (Hg.): Elementarer Tanz - Elementare Musik: Die Günther-Schule München 1924 bis 1944. Mainz u. a. 2002., ISBN 3-7957-0449-9.

3. Latham, Alison (2017). Diccionario enciclopédico de la música. Fondo de Cultura Económica. p. 1123. .

4. Duchen, Jessica (4 de diciembre de 2008). "Dark heart of a masterpiece: Carmina Burana's famous chorus hides a murky Nazi past". The Independent (London). Archivado desde el original el 13 de junio de 2010.

5. cf. http://www.h-net.org/~german/articles/dennis1.html for a review of an article by Kater

6. Martin Kettle "Secret of the White Rose", The Guardian, 2 January 2009

Frohmut Dangel-Hofmann, Carl Orff ─ Michel Hofmann. Briefe zur Entstehung der Carmina burana, Hans Schneider, Tutzing 1990. ISBN 3-7952-0639-1.

Bernd Edelmann, Carl Orff, in: Katharina Weigand (ed.): Große Gestalten der bayerischen Geschichte, Herbert Utz Verlag, Múnich 2011. ISBN 978-3-8316-0949-9.

Alberto Fassone, Carl Orff, Libreria Musicale Italiana, 2.a edición, Lucca 2009. ISBN 978-88-7096-580-3.

Lilo Gersdorf, Carl Orff, Reinbek, Rowohlt 2002, ISBN 3-499-50293-3.

Michael H. Kater, Carl Orff im Dritten Reich, in: Vierteljahrshefte für Zeitgeschichte 43/1995, pp. 1-35.

Michael H. Kater, Komponisten im Nationalsozialismus. Acht Porträts, Parthas, Berlín 2004. ISBN 3-936324-12-3.

Harald Kaufmann, Carl Orff als Schauspieler, in: Werner Grünzweig & Gottfried Krieger (edd.), Von innen und außen. Schriften über Musik, Musikleben und Ästhetik, Wolke, Hofheim 1993, pp. 35-40.

Michael Kugler (ed.), Elementarer Tanz - Elementare Musik. Die Günther-Schule München 1924 bis 1944, Schott Verlag, Maguncia 2002, ISBN 3-7957-0449-9.

Stefan Kunze, Orffs Tragödien-Bearbeitungen und die Moderne, in: Jahrbuch der Bayerischen Akademie der Schönen Künste 2/1988, S. 193-213; reprint: Stefan Kunze, DE MUSICA. Ausgewählte Aufsätze und Vorträge, edd. Erika Kunze & Rudolf Bockholdt, Tutzing (Schneider) 1998, pp. 543-564.

Horst Leuchtmann (ed.), Carl Orff. Ein Gedenkbuch, Hans Schneider, Tutzing 1985. ISBN 3-7952-0451-8.

Andreas Liess, Carl Orff. Idee und Werk, nuova edición, Goldmann, Múnich 1980. ISBN 3-442-33038-6.

Kii-Ming Lo, Sehen, Hören und Begreifen: Jean-Pierre Ponnelles Verfilmung der „Carmina Burana" von Carl Orff, in: Thomas Rösch (ed.), Text, Musik, Szene - Das Musiktheater von Carl Orff, Schott Verlag, Maguncia 2015, pp. 147-173, ISBN 978-3-7957-0672-2.

Jürgen Maehder, Die Dramaturgie der Instrumente in den Antikenopern von Carl Orff, in: Thomas Rösch (ed.), Text, Musik, Szene - Das Musiktheater von Carl Orff, Schott Verlag, Maguncia 2015, pp. 197-229, ISBN 978-3-7957-0672-2.

Pietro Massa, Carl Orffs Antikendramen und die Hölderlin-Rezeption im Deutschland der Nachkriegszeit, Peter Lang, Bern/ Frankfurt/ New York 2006. ISBN 3-631-55143-6.

Carl Orff, Carl Orff und sein Werk. Dokumentation, 8 voll., Hans Schneider, Tutzing 1975-1983; ISBN 3-7952-0154-3, ISBN 3-7952-0162-4, ISBN 3-7952-0202-7, ISBN 3-7952-0257-4, ISBN 3-7952-0294-9, ISBN 3-7952-0308-2, ISBN 3-7952-0308-2, ISBN 3-7952-0373-2.

Godela Orff, Mein Vater und ich, Piper, Múnich 1995. ISBN 3-492-18332-8.

Thomas Rösch, Die Musik in den griechischen Tragödien von Carl Orff, Hans Schneider, Tutzing 2003, ISBN 3-7952-0976-5.

Thomas Rösch, Carl Orff ─ Musik zu Skakespeares "Ein Sommernachtstraum". Entstehung und Deutung, Orff-Zentrum, Múnich 2009.

Thomas Rösch (ed.), Text, Musik, Szene ─ Das Musiktheater von Carl Orff. Symposium Orff-Zentrum München 2007, Schott Verlag, Maguncia 2015; ISBN 978-3-7957-0672-2.

Werner Thomas, Carl Orff, De temporum fine comoedia. Das Spiel vom Ende der Zeiten. Vigilia, Hans Schneider, Tutzing 1973, ISBN 3-7952-0132-2.

Werner Thomas, Das Rad der Fortuna ─ Ausgewählte Aufsätze zu Werk und Wirkung Carl Orffs, Schott Verlag, Maguncia 1990, ISBN 3-7957-0209-7.

Werner Thomas, Orffs Märchenstücke. Der Mond ─ Die Kluge, Schott Verlag, Maguncia 1994, ISBN 3-7957-0266-6.

Werner Thomas, Dem unbekannten Gott. Ein nicht ausgeführtes Chorwerk von Carl Orff, Schott Verlag, Maguncia 1997, ISBN 3-7957-0323-9.

# data[].attributes.attachment_link.description
Carl Orff ( Múnich, 10 de julio de 1895- ibidem, 29 de marzo de 1982) fue un compositor alemán, cuyo trabajo puede ser enmarcado dentro de la corriente del neoclasicismo musical. Fue conocido por su obra Carmina Burana y también por desarrollar un sistema de enseñanza musical para niños (conocido como Orff Schulwerk o método Orff) que ha tenido notables resultados.