Q&A with Principal Horn Michael Thornton

You know the horn when you hear it in a John Williams film score. But have you ever heard it tell a love story?

For Colorado Symphony Principal Horn Michael Thornton, Williams’ Horn Concerto reveals a side of the instrument that audiences may not expect. One movement in particular carries great significance for Thornton, inspired by a poem about two people who understand each other without saying a word. In this Q&A, Thornton talks about the music, the personal connection that makes it especially meaningful, and a possible surprise for fans of Williams’ film scores.

Q: John Williams has described the horn as an instrument that evokes memories of ancient times, calling its sound noble, powerful and beautiful. How do you approach bringing that sense of memory and imagination to life in this concerto?

Michael Thornton: I think the answer is in William’s description of the instrument- it is about the sound. Since antiquity, humans have used horns to signal, celebrate, and sound the alarm. The concept of sound that has deepened and mellowed over time and distance is something I strive for in my playing and artistry.

Q: The concerto takes listeners on quite a journey across its five movements. Which movement or moment speaks to you most personally, and why?

MT: Each movement has a specific literary reference. I have had the good fortune to play for John Williams several times, and he is a highly intelligent and articulate person. A good friend once said, “every time John Williams is on the podium I feel like I need a thesaurus!” For me, the movement that is the most special personally is the third movement, which is inspired by an Emily Dickinson poem, “There Came a Day at Summer’s Full.” It is the story of two lovers spending the longest day of the year together and recognizing without words the special nature of their time together. While I will always be grateful for the amazing music I have been able to create onstage with the Colorado Symphony, the greatest gift the orchestra has given me was the opportunity to meet my talented, beautiful, and kind-hearted wife Julie. Every day onstage with her is special, and we have the opportunity to communicate without words. As my time with the Colorado Symphony draws towards a close, it is especially poignant to dedicate how I play and interact with the oboe (the other partner in the duet) to her.

Q: Many audiences know John Williams for his iconic film scores, but this concerto reveals a different side of him as a composer. What might surprise listeners about this work, particularly those coming to hear it because they love his movie music?

MT: When John Williams writes concert works, his voice is quite different from his film writing. There is a bit of an esoteric nature to the composition, but the audience will clearly feel some of his most iconic elements come through- especially in the middle movements, where there are moments that sound like a chase scene and moments that sound like a love story. Not to give away too much, but there may also be a special surprise at the end of the performance for those who want to hear the horn as Williams has used it in film!

Q: What are the biggest musical or technical challenges of the piece, and what do you hope audiences feel or discover as they hear the horn in this role?

MT: This is a tour de force for the horn and it challenges me to play throughout the entire range of the instrument in ways that are sometimes contrary to the traditional ideas. The concerto is dedicated to the former Principal of the Chicago Symphony, Dale Clevenger, who was known for his technical mastery of the instrument and commanding approach to playing. It also was inspired by the Britten Serenade, which I have performed with the Colorado Symphony in the past, and is a work with unique technical challenges interwoven with beautiful melodies. I hope that these performances will show our audience the many facets of horn playing in the twenty-first century and will leave them excited about the instrument and all that it can do!

OCT 23 – 25

The Firebird with Cleo Parker Robinson Dance & John Williams Horn Concerto

PRESENTED BY CPR CLASSICAL

ELGAR  Introduction and Allegro, Op. 47
JOHN WILLIAMS  Horn Concerto
STRAVINSKY  The Firebird

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