John Williams: Violin Concerto No. 2 & Selected Film Themes

Anne-Sophie Mutter, Boston Symphony Orchestra, John Williams

John Williams: Violin Concerto No. 2 & Selected Film Themes
3 June 2022

John Williams: Violin Concerto No. 2 & Selected Film Themes

Anne-Sophie Mutter, Boston Symphony Orchestra, John Williams

Following the huge success of John Williams - The Berlin Concert, which topped the German pop charts earlier this year, Deutsche Grammophon is now proud to present the world-premiere recording of John Williams’s Violin Concerto no.2. The work was written for and recorded by the venerated composer’s friend and frequent collaborator Anne-Sophie Mutter. Her impassioned performance was given with the Boston Symphony Orchestra, conducted by Williams, who celebrated his 90th birthday on 8 February 2022.

The new album also includes three film themes newly arranged for the violinist by their composer - the Theme from The Long Goodbye, “Han Solo and the Princess” from Star Wars: The Empire Strikes Back, and “Marion’s Theme” from Indiana Jones and the Raiders of the Lost Ark.

Williams and Mutter have worked together often since she gave the first performance of his Markings in Boston almost five years ago, and have co-starred on two previous hugely successful Deutsche Grammophon albums: Across the Stars (2019) and John Williams in Vienna (2020). Williams’ second violin concerto reflects his deep admiration for the lyrical warmth and dynamism of Mutter’s playing and for her sense of musical adventure.

John Williams recalls: “When Anne-Sophie invited me to compose a concerto for her, I thought it was a wonderful opportunity to write for one of the world’s greatest artists. It was also a challenge, of course, because there are so many great violin concertos in the repertoire.”

Full of stylistic contrast, Williams’s Violin Concerto no.2 begins with the rhapsodic “Prologue”. This is followed by the atmospheric, Debussyesque “Rounds”, and then by the tense, jazzy “Dactyls”, which includes a brief cadenza for violin, harp and timpani. Violin and harp duet again in the “Epilogue”, which concludes the work with what the composer describes as “a gentle resolution in A major that might suggest both healing and renewal”.

“I knew from the recording we made together for DG of my theme from Cinderella Liberty of her remarkable feeling for jazz,” Williams adds. “So I wrote a quasi-improvisation for solo violin at the start of the concerto’s ‘Prologue’ and she was completely at home with it. I can only think of this piece as being about Anne-Sophie. This is a truly personal album for me, because of the rapport I have with her and because of my long relationship with the wonderful musicians of the Boston Symphony.”

“The idea for the piece formed when we worked together on Markings,” says Mutter. “I had no idea then that it would grow into such a gigantic composition, so rich in material and with such enormous emotional and expressive scope. I’ve always loved jazz, so it was a particular joy to discover that the violin’s first entry has the freedom of jazz. It’s the ‘stem cell’ of the whole piece, a terrific starting point for such a complex work. I was overwhelmed by the piece and its technical difficulties at first. But it became a very dear friend as I worked on it every day during lockdown. It was precious to have time to explore this incredible music in depth and feel part of the creative process, to speak to John as he composed and revised the score and discover just how much he loves violin.”

Mutter and Williams gave the world premiere of the concerto on 24 July 2021 at the Boston Symphony Orchestra’s summer home in Tanglewood. “Mutter carried the solo like an old friend, shaping each phrase with intention and panache,” observed the Boston Globe. The musicians all reconvened in the autumn to record the concerto and the three film themes at Boston’s Symphony Hall.

“I can only think of this piece as being about Anne-Sophie. I took my inspiration and energy directly from this great artist herself.” - John Williams

“It has been a lifelong dream of mine to have John Williams compose a concerto for me.” - Anne-Sophie Mutter


Ninety years young is how I would describe John Williams after listening to his latest recording, both as composer and conductor. Working with the Boston Symphony Orchestra, he presents his Violin Concerto No 2, written for his friend, the world- renowned violinist Anne-Sophie Mutter. As anyone who knows Mutter would expect, her contribution here is, as usual, stunning, but what I found particularly interesting about this work was the rhythm. Yes, there are the soaring strings and lush cinematic timbres you would imagine of a John Williams work, but the rhythm is so much more angular than what you might expect. It’s as if Williams has finally been given the freedom to simply speak through his music, which I haven’t heard in his works before. I love the fact that this music seems to be continually searching, and I love that Williams is still creating even now.

Of course, for those die-hard fans of his movie music there are some beautiful renditions of some of his more famous pieces with Mutter as celebrated soloist. These include ‘Han Solo and the Princess’ from The Empire Strikes Back and ‘Marion’s Theme’ from Indiana Jones and the Raiders of the Lost Ark. You can almost see the smiles on the faces of the Boston Symphony Orchestra as they bask in the beauty that is John Williams and his world-changing music.

Kate Rockstrom is a friend of Readings.

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