ABSTRACT
John Williams’ unique philosophies and attitudes underpin many of his decisions regarding the performance, perception and communication of his music. This chapter focuses on stylistic and practical aspects of Williams’ response to his instrument and his broad influence upon the culture of classical guitar. Further examples of Williams’ approach to classical guitar are provided by his recordings of J. S. Bach’s Chaconne in D minor, the first recorded in 1965 and again, in 1987. As an ensemble player, Williams has helped to transform the image of the classical guitar in modern music. Joaquin Rodrigo’s orchestration is precisely calculated to address the challenges of balance presented by the combination of orchestra and guitar. Williams has attempted to explain what he has referred to as his ‘conscious affinity with the simple pulse of music’ by offering the slow movement of Rodrigo’s Concierto de Aranjuez as an example.
