"God has laid a finger on his brow, and it will not be long before his name becomes a byword in England and abroad". Those were Andres Segovia’s words when he first met then 11-year old John Williams.
Born in Australia in 1941, John Williams is the most acclaimed classical guitarist alive. His father, Leonard Williams, was a known jazz guitar player in Melbourne. He recognized John’s early talent and encouraged him to his pursuit a career in music.
In 1952, his family moved to London and John was sent to study with Andres Segovia. While this became John Williams’ initiation to the big leagues of classical guitar, it also became a struggle with the maestro. However, there is reason to believe it helped him create his own approach to classical guitar performing (much different from Segovia’s own style). Few years later (between ages 15 and 18) he joined the Royal College of Music in London, where he had to study piano as there was no guitar program at the time.
Upon graduation from the Royal College of Music he started to tour Europe, making debut appearances in multiple capitals.
Throughout his career, he has collaborated with multiple artists. His work with Julian Bream as a guitar duo is remarkable throughout the 1960’s and 1970’s. I personally don’t like his experimentation with SKY throughout the 1970’s, but it was definitely a breakthrough in guitar music. This project allowed him to reach mainstream popularity in a format that blends acoustic guitar with electronic sounds and drums.
After the end of SKY, he focused back on classical guitar. His repertoire is almost endless and covers a wide range of eras and composers. From J.S. Bach’s lute and cello suites to Domenico Scarlatti’s sonatas or Isaac Albeniz Spanish themes or Agustin Barrios great guitar works, John Williams covers the full spectrum of classical guitar music available.
For a full biography, I recommend the following site.
Guitar style
John Williams’ technique is extremely clean and well crafted. He is very conscious of timing, phrasing and the production of an accurate sound. Even though he is able to deliver very inspired performances, his style contrasts with that of more expressive guitarists like Andres Segovia, Manuel Lopez Ramos or Alfonso Moreno.
In many ways, his performance style is very different from that of his former mentor, Andres Segovia. According to Segovia’s critics, his expressive style would impose a personal interpretation (deep vibratos and over-extended notes) on the original phrasing of compositions. This is what built both his legions of fans and critics worldwide.
In my opinion, sometimes it is hard to decipher Williams’ personal interpretation of pieces. While his performances are technically flawless, sometimes they lack a personal touch other than the perfect generation of sounds.
I think the following quote from John Williams summarizes his view of guitar playing and that of Andres Segovia.
"The Segovia gestures—extra vibrato and dwelling on a note or chord at a cadence—is not musical freedom. There has been a tendency among guitar players to think that doing these things for their own sake quite apart from the context of a piece of music as a whole, is in some way expressive. I view them as simply mannerisms[...]"
As you can see, John Williams approach to classical guitar music tends to be that of a purist. It’s probably his passion for academics, but he often stays within the original context and intent of every composition.
If you’re not familiar with John William’s material, I strongly recommend it. You’ll be exposed to the most beautiful classical guitar works, performed in the cleanest way there is. I can spend hours listening to John Williams’ recordings and they always bring sublime moments of guitar music!
The Ultimate Guitar Collection. Besides the classical side of John Williams, this anthology is a good alternative for a glimpse into John William’s departures from classical guitar music as well. Pieces like Cavatina, The Godfather, Three Blues for Classic Guitar are good examples of this.
On the other hand, it includes excellent performances of classical guitar masterpieces such as La Catedral, Recuerdos de la Alhambra, Asturias, Prelude from Suite for Lute No. 4 or Torre Bermeja.
Bach - The Four Lute Suites. I personally think John Williams’ best performances are found when he plays J.S. Bach. In a way, Bach’s music suits John Williams’ music approach. His clean sound and flawless interpretation of phrases is a perfect match for J.S. Bach’s music.
J.S. Bach didn’t write any material for guitar. Given the nature of the lute, these suites are the closest we’ll ever get to a guitar work by Bach. In the hands of John Williams, this is really one of the best classical guitar materials one can find in the marketplace.
The Great Paraguayan – Guitar Music of Barrios. John Williams has declared his admiration for Agustin Barrios Mangore, a Paraguayan guitar player and composer of the first half of the 20th century. Actually, it’s more than just admiration as Williams regards Barrios as the best composer of guitar music of all times (music originally written for guitar, that is). It’s hard to disagree with this statement, as Agusting Barrios’ music is excellently crafted and has a very sophisticated sense of expression.
I’m surprised he doesn’t mention Antonio Lauro in that category, as he was one guitarist/composer well worthy of that league.
This album has excellent material such as Vals No. 3, La Ultima Cancion, Julia Florida. Of course, it has one of the most impressive compositions for classical guitar ever: La Catedral.
Rodrigo – Concierto de Aranjuez, Fantasia para un Gentilhombre No classical guitarist career could be considered complete without playing the mighty Concierto de Aranjuez. This composition is probably the most sophisticated and expressive guitar concert and a great tribute to Spanish music. It has an interesting story behind it, as the great Andres Segovia refused to play it since Rodrigo didn’t dedicate the concert for him (instead he dedicated it to Regino Sainz de la Maza).
Fantasia para un Gentilhombre is Rodrigo’s second most famous work. This concert is inspired in Gaspar Sanz works from the 17th century, and keeps that Renaissance air to it. Although Joaquin Rodrigo defines it as Spanish neo-classical. It is one of the most enjoyable, peaceful and unpretentious pieces of work one can find in classical guitar. This time Rodrigo, in an attempt to amend his relationship with Andres Segovia, dedicated this concert to him. Because of this, there is a recording by Andres Segovia.
I still don’t share William’s interpretative approach to Spanish or Latin American compositions. However it’s hard not to enjoy these two beautiful guitar works delivered with such perfection. Having John William’s version of the Concierto de Aranjuez is a must for anyone interested in classical guitar music. The other must have version, and in my opinion the best one ever recorded, is Paco de Lucia’s.
Spirit of the Guitar – Music from the Americas One can argue the best solo guitar works have been written in Latin America. J.S. Bach or Isaac Albeniz cannot be ignored, but most of those beautiful compositions are written originally for other instruments. Composers such as Manuel M. Ponce, Agustin Barrios or Antonio Lauro had a great understanding of the instrument and delivered the most tasteful and beautiful works for it.
In this album, John Williams covers a wide range of these compositions. From Agustin Barrios’ La Ultima Cancion, to Manuel M. Ponce’s Scherzino Mexicano or Antonio Lauro’s Natalia and Maria Luisa, Antonio Sagrera’s El Colibrí and Leo Brower’s daring Danza Caracteristica. For a more complete taste of Latin American works, The Great Paraguayan - Guitar Music of Barrios is a great choice.
