bromine ← krypton → rubidium Ar ↑ Kr ↓ Xe 36Kr Periodic table
Appearance
Colorless gas, exhibiting a whitish glow when placed in a high voltage electric field Spectral lines of Krypton
General properties
Name, symbol, number	krypton, Kr, 36
Pronunciation	/ˈkrɪptɒn/ KRIP-ton
Element category	noble gases
Group, period, block	18, 4, p
Standard atomic weight	83.798
Electron configuration	[Ar] 3d10 4s2 4p6
Electrons per shell	2, 8, 18, 8 (Image)
Physical properties
Phase	gas
Density	(0 °C, 101.325 kPa) 3.749 g/L
Liquid density at b.p.	2.413[1] g·cm−3
Melting point	115.79 K, -157.36 °C, -251.25 °F
Boiling point	119.93 K, -153.22 °C, -244.12 °F
Triple point	115.775 K (-157°C), 73.2 kPa
Critical point	209.41 K, 5.50 MPa
Heat of fusion	1.64 kJ·mol−1
Heat of vaporization	9.08 kJ·mol−1
Molar heat capacity	5R/2 = 20.786 J·mol−1·K−1
Vapor pressure
P (Pa) 1 10 100 1 k 10 k 100 k at T (K) 59 65 74 120
Atomic properties
Oxidation states	2
Electronegativity	3.00 (Pauling scale)
Ionization energies	1st: 1350.8 kJ·mol−1
	2nd: 2350.4 kJ·mol−1
	3rd: 3565 kJ·mol−1
Covalent radius	116±4 pm
Van der Waals radius	202 pm
Miscellanea
Crystal structure	cubic face-centered
Magnetic ordering	diamagnetic[2]
Thermal conductivity	9.43x10-3  W·m−1·K−1
Speed of sound	(gas, 23 °C) 220, (liquid) 1120 m·s−1
CAS registry number	7439-90-9
Most stable isotopes
Main article: Isotopes of krypton
iso NA half-life DM DE (MeV) DP 78Kr 0.35% 78Kr is stable with 42 neutrons 79Kr syn 35.04 h ε - 79Br β+ 0.604 79Br γ 0.26, 0.39, 0.60 - 80Kr 2.25% 80Kr is stable with 44 neutrons 81Kr trace 2.29×105 y ε - 81Br γ 0.281 - 82Kr 11.6% 82Kr is stable with 46 neutrons 83Kr 11.5% 83Kr is stable with 47 neutrons 84Kr 57% 84Kr is stable with 48 neutrons 85Kr syn 10.756 y β− 0.687 85Rb 86Kr 17.3% 86Kr is stable with 50 neutrons
v t e · r

Krypton ( /ˈkrɪptɒn/ KRIP-ton; from Greek: κρυπτός kryptos "the hidden one") is a chemical element with the symbol Kr and atomic number 36. It is a member of Group 18 and Period 4 elements. A colorless, odorless, tasteless noble gas, krypton occurs in trace amounts in the atmosphere, is isolated by fractionally distilling liquified air, and is often used with other rare gases in fluorescent lamps. Krypton is inert for most practical purposes.

Krypton, like the other noble gases, can be used in lighting and photography. Krypton light has a large number of spectral lines, and krypton's high light output in plasmas allows it to play an important role in many high-powered gas lasers (krypton ion and excimer lasers), which pick out one of the many spectral lines to amplify. There is also a specific krypton fluoride laser. The high power and relative ease of operation of krypton discharge tubes caused (from 1960 to 1983) the official length of a meter to be defined in terms of the 605 nm (red-orange) spectral line of krypton-86.

History[link]

Sir William Ramsay, the discoverer of krypton

Krypton was discovered in Britain in 1898 by Sir William Ramsay, a Scottish chemist, and Morris Travers, an English chemist, in residue left from evaporating nearly all components of liquid air. Neon was discovered by a similar procedure by the same workers just a few weeks later.^[3] William Ramsay was awarded the 1904 Nobel Prize in Chemistry for discovery of a series of noble gases, including krypton.

In 1960, an international agreement defined the meter in terms of wavelength of light emitted by the krypton-86 isotope (wavelength of 605.78 nanometers). This agreement replaced the longstanding standard meter located in Paris, which was a metal bar made of a platinum-iridium alloy (the bar was originally estimated to be one ten-millionth of a quadrant of the earth's polar circumference), and was itself replaced by a definition based on the speed of light — a fundamental physical constant. However, in 1927, the International Conference on Weights and Measures had redefined the meter in terms of a red cadmium spectral line (1 m = 1,553,164.13 wavelengths).^[4] In October 1983, the same bureau defined the meter as the distance that light travels in a vacuum during 1/299,792,458 s.^[5][6][7]

Characteristics[link]

Krypton is characterized by several sharp emission lines (spectral signatures) the strongest being green and yellow.^[8] It is one of the products of uranium fission.^[9] Solidified krypton is white and crystalline with a face-centered cubic crystal structure, which is a common property of all noble gases (except helium, with a hexagonal close-packed crystal structure).

Isotopes[link]

Naturally occurring krypton is made of six stable isotopes. In addition, about thirty unstable isotopes and isomers are known.^{[10] 81}Kr, the product of atmospheric reactions, is produced with the other naturally occurring isotopes of krypton. Being radioactive, it has a half-life of 230,000 years. Krypton is highly volatile when it is near surface waters but ⁸¹Kr has been used for dating old (50,000–800,000 years) groundwater.^[11]

⁸⁵Kr is an inert radioactive noble gas with a half-life of 10.76 years. It is produced by the fission of uranium and plutonium, such as in nuclear bomb testing and nuclear reactors. ⁸⁵Kr is released during the reprocessing of fuel rods from nuclear reactors. Concentrations at the North Pole are 30% higher than at the South Pole due to convective mixing.^[12]

Chemistry[link]

Like the other noble gases, krypton is chemically unreactive. However, following the first successful synthesis of xenon compounds in 1962, synthesis of krypton difluoride (KrF₂) was reported in 1963.^[13] In the same year, KrF₄ was reported by Grosse, et al.,^[14] but was subsequently shown to be a mistaken identification.^[15] There are also unverified reports of a barium salt of a krypton oxoacid.^[16] ArKr⁺ and KrH⁺ polyatomic ions have been investigated and there is evidence for KrXe or KrXe⁺.^[17]

Compounds with krypton bonded to atoms other than fluorine have also been discovered. The reaction of KrF₂ with B(OTeF₅)₃ produces an unstable compound, Kr(OTeF₅)₂, that contains a krypton-oxygen bond. A krypton-nitrogen bond is found in the cation [HC≡N–Kr–F]+
, produced by the reaction of KrF₂ with [HC≡NH]+
[AsF−
6] below −50 °C.^[18][19] HKrCN and HKrC≡CH (krypton hydride-cyanide and hydrokryptoacetylene) were reported to be stable up to 40 K.^[13]

Natural occurrence[link]

The Earth has retained all of the noble gases that were present at its formation except for helium. Krypton's concentration in the atmosphere is about 1 ppm. It can be extracted from liquid air by fractional distillation.^[20] The amount of krypton in space is uncertain, as the amount is derived from the meteoric activity and that from solar winds. The first measurements suggest an overabundance of krypton in space.^[21]

Applications[link]

Krypton gas discharge tube

Krypton discharge (spectrum) tube

Krypton's multiple emission lines make ionized krypton gas discharges appear whitish, which in turn makes krypton-based bulbs useful in photography as a brilliant white light source. Krypton is thus used in some types of photographic flashes used in high speed photography. Krypton gas is also combined with other gases to make luminous signs that glow with a bright greenish-yellow light.^[22]

Krypton mixes with argon as the fill gas of energy saving fluorescent lamps. This reduces their power consumption. Unfortunately this also reduces their light output and raises their cost.^[23] Krypton costs about 100 times as much as argon. Krypton (along with xenon) is also used to fill incandescent lamps to reduce filament evaporation and allow higher operating temperatures to be used for the filament.^[24] A brighter light results which contains more blue than conventional lamps.

Krypton's white discharge is often used to good effect in colored gas discharge tubes, which are then simply painted or stained in other ways to allow the desired color (for example, "neon" type advertising signs where the letters appear in differing colors are often entirely krypton-based). Krypton is also capable of much higher light power density than neon in the red spectral line region, and for this reason, red lasers for high-power laser light-shows are often krypton lasers with mirrors which select out the red spectral line for laser amplification and emission, rather than the more familiar helium-neon variety, which could never practically achieve the multi-watt red laser light outputs needed for this application.^[25]

Krypton has an important role in production and usage of the krypton fluoride laser. The laser has been important in the nuclear fusion energy research community in confinement experiments. The laser has high beam uniformity, short wavelength, and the ability to modify the spot size to track an imploding pellet.^[26]

In experimental particle physics, liquid krypton is used to construct quasi-homogeneous electromagnetic calorimeters. A notable example is the calorimeter of the NA48 experiment at CERN containing about 27 tonnes of liquid krypton. This usage is rare, since the cheaper liquid argon is typically used. The advantage of krypton over argon is a small Molière radius of 4.7 cm, which allows for excellent spatial resolution and low degree of overlapping. The other parameters relevant for calorimetry application are: radiation length of X₀=4.7 cm, density of 2.4 g/cm³.

The sealed spark gap assemblies contained in ignition exciters used in some older jet engines contain a very small amount of Krypton-85 to obtain consistent ionization levels and uniform operation.

Krypton-83 has application in magnetic resonance imaging (MRI) for imaging airways. In particular, it may be used to distinguish between hydrophobic and hydrophilic surfaces containing an airway.^[27]

Although xenon has potential for use in computed tomography (CT) to assess regional ventilation, its anesthetic properties limit its fraction in the breathing gas to 35%. The use of a breathing mixture containing 30% xenon and 30% krypton is comparable in effectiveness for CT to a 40% xenon fraction, while avoiding the unwanted effects of a high fraction xenon gas.^[28]

Precautions[link]

Krypton is considered to be a non-toxic asphyxiant.^[29] Krypton has a narcotic potency seven times greater than air, so breathing a gas containing 50% krypton and 50% air would cause narcosis similar to breathing air at four times atmospheric pressure. This would be comparable to scuba diving at a depth of 30 m (100 ft) (see nitrogen narcosis) and potentially could affect anyone breathing it. Nevertheless, that mixture would contain only 10% oxygen and hypoxia would be a greater concern.

See also[link]

Books View or order collections of articles	Krypton Period 4 elements Noble gases Chemical elements (sorted alphabetically) Chemical elements (sorted by number)
Portals Access related topics	Chemistry portal
Find out more on Wikipedia's Sister projects	Images and media from Commons Definitions from Wiktionary Learning resources from Wikiversity

References[link]

Further reading[link]

• William P. Kirk "Krypton 85: a Review of the Literature and an Analysis of Radiation Hazards", Environmental Protection Agency, Office of Research and Monitoring, Washington (1972)

External links[link]

• Krypton Fluoride Lasers, Plasma Physics Division Naval Research Laboratory

vep:Kripton

John Williams
Williams at the Avery Fisher Hall in 2007
Background information
Birth name	John Towner Williams
Born	(1932-02-08) February 8, 1932 (age 80)
Origin	Flushing, Queens, New York, United States of America
Genres	Film score, Contemporary classical music, Jazz
Occupations	Composer, pianist, conductor
Years active	1952–present

John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T. the Extra-Terrestrial, Hook, Jurassic Park, Schindler's List, War Horse, Home Alone and the first three Harry Potter films. He has had a long association with director Steven Spielberg, composing the music for all but two (Duel and The Color Purple) of Spielberg's major feature films.

Other notable works by Williams include theme music for four Olympic Games, NBC Sunday Night Football, the NBC Nightly News, the rededication of the Statue of Liberty, and the television series Lost in Space. Williams has also composed numerous classical concerti, and he served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993; he is now the orchestra's conductor laureate.

Williams has won five Academy Awards, four Golden Globe Awards, seven BAFTA Awards, and 21 Grammy Awards. With 47 Academy Award nominations, Williams is the second most nominated person, after Walt Disney.^[1] John Williams was honored with the prestigious Richard Kirk award at the 1999 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.^[2] Williams was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.

Early life and family[link]

John Williams was born on February 8, 1932 on Long Island, New York, the son of Esther (née Towner) and Johnny Williams.^[3] His father was a jazz percussionist who played with the Raymond Scott Quintet.

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 at Los Angeles (UCLA), and studied privately with the Italian composer Mario Castelnuovo-Tedesco.^[4] In 1952, Williams was drafted into the U.S. Air Force, where he conducted and arranged music for the Air Force Band as part of his assignments.

After his Air Force service ended in 1955, Williams moved to New York City and entered the Juilliard School, where he studied piano with Rosina Lhévinne.^[4] During this time, Williams worked as a jazz pianist in New York's many clubs and eventually studios, most notably for composer Henry Mancini. His fellow session musicians included Rolly Bundock on bass, Jack Sperling on drums, and Bob Bain on guitar—the same lineup featured on the Mr. Lucky television series. Williams was known as "Little Johnny Love" Williams during the early 1960s, and he served as music arranger and bandleader for a series of popular music albums with the singer Frankie Laine.

Williams was married to actress Barbara Ruick from 1956 until her death on March 3, 1974. The Williamses had three children: Jennifer (born 1956), Mark (born 1958), and Joseph (born 1960). Williams' younger son (Joseph) is one of the various lead singers the band Toto. John Williams married his second wife, Samantha Winslow, on July 21, 1980.

John Williams is an honorary member of Kappa Kappa Psi, the national fraternity for college band members.

Film and television scoring[link]

Williams at the Boston Symphony Hall after conducting the Boston Pops, May 2006

While skilled in a variety of 20th century compositional idioms, Williams' most familiar style may be described as a form of neoromanticism,^[5] inspired by the same large-scale orchestral music of the late 19th century—especially the compositions of Richard Wagner and its concept of leitmotif—that inspired his film music predecessors.^[6]

After his studies at Juilliard, Williams returned 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.^[7] Williams was also a studio pianist, performing on film scores by composers such as Jerry Goldsmith, Elmer Bernstein, and Henry Mancini. Williams recorded with Henry Mancini on the film scores of Peter Gunn (1959), Days of Wine and Roses (1962), and Charade (1963). (Williams actually played the well-recognized opening riff to Mancini's Peter Gunn theme.^[8][9]) Williams (often credited as "Johnny Williams") also composed the music for various TV programs in the 1960s: The pilot episode of Gilligan's Island,^[10] Bachelor Father (1959-1960), 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).

Working at Universal Studios, Williams shared music credit on a number of films, the most notable being The Creature from the Black Lagoon in 1954. Williams's first major film composition was for the B movie Daddy-O in 1958, and his first screen credit came two years later in Because They're Young. He soon gained notice in Hollywood for his versatility in composing jazz, piano, and symphonic music. Williams received his first nomination for an Academy Award for his film score for Valley of the Dolls (1967), and then was nominated again for his score for Goodbye, Mr. Chips (1969). Williams broke through to win his first Academy Award for his adapted score for the film Fiddler on the Roof (1971). In 1972 he composed the score for the Robert Altman psychological thriller Images (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. During the early 1970s, Williams' prominence grew thanks to his work for now–film producer Irwin Allen's disaster films, composing the scores for The Poseidon Adventure (1972) and The Towering Inferno (1974). In addition, he scored Universal's Earthquake (1974) for director Mark Robson, completing a "trinity" of scores for the highest grossing "disaster films" of the decade. He also wrote a very memorable score to The Cowboys (1972), a western starring John Wayne and directed by Mark Rydell.

In 1974, Williams was approached by director Steven Spielberg to compose the music for his feature directorial debut, The Sugarland Express. The young director had been impressed with Williams's score for the movie The Reivers (1969), and Spielberg was convinced that Williams could compose the musical sound that he desired for any of his films. They teamed up again a year later for Spielberg's second film, Jaws. Widely considered to be a classic suspense film, its film score's ominous two-note motif has become synonymous with sharks and approaching danger. The score for Jaws earned Williams his second Academy Award, his first one for an original composition.

Shortly thereafter, Williams and Spielberg began a long collaboration for their next feature film together, Close Encounters of the Third Kind (CE3K, 1977). In an unusual step for a Hollywood film, Spielberg and Williams developed their script and musical concepts simultaneously, as in the film these entwine very closely together. During their two-year-long 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 CE3K that were based on hand signs created by John Curwen and refined by Zoltan Kodaly.

During the same period, Spielberg recommended Williams to his friend and fellow director George Lucas, who needed a composer to score his ambitious space epic, Star Wars (1977). Williams delivered a grand symphonic score in the fashion of Richard Strauss and Golden Age Hollywood composers Max Steiner and Erich Wolfgang Korngold. Its main theme, "Luke's Theme" is among the most widely recognized in motion picture history, and the "Force Theme" and "Princess Leia's Theme" are well-known examples of leitmotif. Both the film and its soundtrack 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, where he introduced "The Imperial March" as the theme for Darth Vader and the Galactic Empire. The original Star Wars 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 Williams Academy Award nominations.

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

Williams worked with director Richard Donner to score the 1978 film 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," would appear in the four sequel films. For the 1981 film Raiders of the Lost Ark, created and directed by Lucas and Spielberg, Williams wrote a rousing main theme known as "The Raiders March" to accompany the film's hero, Indiana Jones. He also composed separate themes to represent the Ark of the Covenant, the character Marion, and the Nazi villains of the story. Additional themes were featured in his scores to the sequel films 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. The music conveys the film's benign, childlike sense of innocence, particularly with a spirited theme for the freedom of flight, and a soft string-based, harp-featured theme for the friendship between characters E.T. and Elliott. The film's final chase and farewell sequence marks a rare instance in film history in which the on-screen action was re-edited to conform to the composer's musical interpretation. Williams was awarded a fourth Academy Award for this score.

The 1985 film The Color Purple is the only theatrical feature directed by Steven Spielberg for which John Williams did not serve as composer. The film's producer, Quincy Jones, wanted to personally arrange and compose the music for the project. Williams also did not score Twilight Zone: The Movie, but Spielberg had directed only one of the four segments in that film; the lead director and producer of the film, John Landis, selected Jerry Goldsmith as composer. The Williams-Spielberg collaboration resumed with the director's 1987 film Empire of the Sun, and has continued to the present, spanning genres from science fiction thrillers (1993's Jurassic Park), to somber tragedies (1993's Schindler's List, 2005's Munich), to Eastern-tinged melodramas (2005's Memoirs of a Geisha, directed by Rob Marshall). Spielberg has said, "I call it an honorable privilege to regard John Williams as a friend."^[11]

In 1999 George Lucas launched the first of a series of prequels to the original Star Wars trilogy. Williams was asked to score all three films, starting with The Phantom Menace. Along with themes from the previous movies, Williams created new themes to be used as leitmotifs in Attack of the Clones (2002) and Revenge of the Sith (2005). Most notable of these was "Duel of the Fates," an aggressive choral movement utilizing harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. 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" of the prior trilogy. For Episode II, Williams composed "Across the Stars," a love theme for Padmé Amidala and Anakin Skywalker (mirroring the love theme composed for the second film of the previous trilogy, The Empire Strikes Back). The final installment combined many of the themes created for the series' previous movies, 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, entitled "Battle of the Heroes." Few composers have scored an entire series of this magnitude: The combined scores of all six Star Wars films add up to more than 14 hours of orchestral music.

In the new millennium, Williams was asked to score the film adaptations of the widely successful book series, Harry Potter. He went on to score the first three installments of the film franchise. As with his Superman theme, the most important theme from Williams's scores for the adaptations of J. K. Rowling's Harry Potter series, dubbed Hedwig's Theme, has been used in the fourth, fifth, sixth, seventh and 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, Nicholas Hooper and Alexandre Desplat respectively. Like the main themes from Star Wars, Jaws, Superman, and Indiana Jones, fans have come to identify the Harry Potter films with Williams's original compositions. Williams was asked to return to the film franchise to score the final installment, Harry Potter and the Deathly Hallows – Part 2, but director David Yates stated 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 2006 Superman Returns was completed under the direction of Bryan Singer, best known for directing the first two movies in the X-Men series. Although Singer did not request Williams to compose a score for the intentionally Donner-esque film, he employed the skills of X2 composer John Ottman to incorporate Williams's original Superman theme, as well as those for Lois Lane, Krypton and Smallville. Don Davis performed a similar role for Jurassic Park III, recommended to the producers by Williams himself. (Film scores by Ottman and to a lesser extent Davis are often compared to those of Williams, as both use similar styles of composition.)

In 2008 Williams returned to the Indiana Jones series to score the fourth film—The Kingdom of the Crystal Skull. He received a Grammy nomination for his work on the film. During 2008, he also composed music for two documentaries, Warner at War,^[12] and A Timeless Call,^[13] the latter of which was directed by Steven Spielberg.

After a three year absence from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin: The Secret of the Unicorn and War Horse in 2011. Both scores received overwhelmingly positive reviews,^{[14][15][16][17][18][19]} with both scores earning Oscar nominations,^[20] and the latter being nominated for a Golden Globe.^[21] The Oscar nominations are Williams' 46th and 47th, making him the most nominated musician in Academy Awards history (having previously been tied with Alfred Newman's 45 nominations), and the second most nominated overall, following Walt Disney. Williams won an Annie Award for his score for The Adventures of Tintin: The Secret of the Unicorn in 2012.

Williams is next scheduled to score Spielberg's 2012 film Lincoln.

Conducting and performing[link]

Williams signing an autograph after a concert

From 1980 to 1993, Williams succeeded Arthur Fiedler as Principal Conductor of the Boston Pops Orchestra. Williams never met Fiedler in person but spoke with him by telephone. His arrival as the new leader of the Pops 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, in addition to conducting many Fiedler audience favorites.

Williams almost ended his tenure with the Pops in 1984.^[22] Considered a customary practice of opinion, some players hissed while sight-reading a new Williams composition in rehearsal; Williams abruptly left the session and turned in 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.^[23] 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 Laureate Conductor of the Pops, thus maintaining his affiliation with its parent, the Boston Symphony Orchestra (BSO). 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, official chorus of the BSO....

Williams has written many concert pieces, including a symphony; a Concerto for Horn written for Dale Clevenger, principal hornist of the Chicago Symphony; a Concerto for Clarinet written for Michele Zukovsky (Principal Clarinetist of the Los Angeles Philharmonic) in 1991;^[24] 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. He is also an accomplished pianist, as can be heard in various scores in which he provides solos, as well as a handful of European classical music recordings.

Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a story for ABC's newsmagazine 20/20 in 1983.^[25]

Stanley Donen (left) and John Williams at Avery Fisher Hall

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 The Today Show, NBC Nightly News, and Meet the Press. Williams also composed the "Liberty Fanfare" for the rededication of the Statue of Liberty, "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. His most recent concert work, "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" was given its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.

Williams conducting at Hollywood Bowl.

Williams makes annual appearances with the Los Angeles Philharmonic at the Hollywood Bowl, and took part as conductor and composer in the orchestra's opening gala concerts for the Walt Disney Concert Hall in 2003.

In 2004, Williams both served as the Grand Marshall for the Rose Parade, and directed the Star Spangled Banner at the beginning of the Rose Bowl.

In April 2005, Williams and the Boston Pops performed "The Force Theme" 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 through a new dissonant arrangement of the "Star Spangled Banner."^[25]

In April 2004, February 2006, and September 2007, he 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.^[26] Its unprecedented popularity led to two concerts in 2006: fundraising gala events featuring personal recollections by film directors Martin Scorsese and Steven Spielberg.^[27] 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 opening event of the New York Philharmonic season.^[28] After a four-season absence, Williams conducted the Philharmonic once again in October 2011.^[29]

Awards[link]

John Williams has won five Academy Awards, and four Golden Globe Awards. He has also been nominated for 22 Golden Globes, winning four, and 59 Grammys, winning 20. With 47 Oscar nominations, Williams currently holds the record for the most Oscar nominations for a living person,^[30][31] and is the second most nominated person in the history of the Academy Awards behind only Walt Disney's 59. Forty-two of Williams' 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 Adapted Score (Fiddler on the Roof).

Williams has received three Emmy Awards and five nominations, seven BAFTAs, twenty Grammy Awards, and has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl Hall of Fame. In 2004 he received a Kennedy Center Honor. He won a Classical Brit award in 2005 for his soundtrack work of the previous year.

Notably, 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 Extraterrestrial, Angela's Ashes (1999), Munich (2005), and Indiana Jones and the Kingdom of the Crystal Skull. 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 Mr. Williams its highest individual honor, the Olympic Order.^[32]

In 2009, Williams received the National Medal of Arts in the White House in Washington for his achievements in symphonic music for motion pictures, and "as a pre-eminent composer and conductor [whose] scores have defined and inspired modern movie-going for decades."^[33]

John Williams was made an honorary brother of Kappa Kappa Psi at Boston University in the late 80's. ^[34]

AFI[link]

Williams's richly thematic and highly popular 1977 score to Star Wars Episode IV: A New Hope was selected in 2005 by the American Film Institute as the greatest American movie score of all time. His scores for Jaws and E.T. also appeared on the list, at No. 6 and No. 14, respectively.^[35] He is the only composer to have three scores on the list. Williams' scores for the following films were nominated for the list:

• A.I. Artificial Intelligence (2001)
• Close Encounters of the Third Kind (1977)
• The Cowboys (1972)
• Harry Potter and the Sorcerer's Stone (2001)
• Raiders of the Lost Ark (1981)
• Schindler's List (1993)
• Superman (1978)
• The Witches of Eastwick (1987)

List of awards[link]

Discography[link]

Charting hits (U.S., Billboard)[link]

• 1975 - "Theme From Jaws", #32
• 1977 - "Star Wars Theme - Main Title", #10
• 1978 - "Theme From Close Encounters Of The Third Kind", #13
• 1979 - "Theme From Superman", #81

See also[link]

• List of compositions by John Williams
• Star Wars music
• Superman music
• Harry Potter music

References[link]