How many film scores can one identify by merely hearing a few notes? Bah-dum. Bah-dum. You undoubtedly found yourself humming that sequence in your mind. Two simple notes: a minor second, and with them, John Williams immortalized Steven Spielberg’s mechanical shark, transforming it into one of cinema’s most chilling antagonists.

Do you recall the first time you experienced E.T. and saw Elliott with his alien best friend soar across the moon to that sweeping, poignant score? I do. I was seven years old, stepping into the theater with my mother’s best friend, Anita, utterly spellbound. I also remember receiving an E.T. stuffed animal at some later point—one of the tangible pieces of magic that film imbued into my childhood.

I know that my father stood in line to witness Star Wars during its original release. I remember attending The Empire Strikes Back and Return of the Jedi with my family. And Raiders of the Lost Ark—I distinctly recall seeing it in theaters, with my mother proclaiming it the greatest adventure film she had ever witnessed.

The music of John Williams is inextricably linked to the fabric of my youth. I had the rare privilege of attending several of his live performances at the Hollywood Bowl with my family. Under the open sky, sipping hot chocolate, and listening to the very scores that defined my childhood—the experience remains one of my most cherished and indelible memories.

Born on February 8, 1932, in Flushing, Queens, New York City, John Williams has emerged as one of the most renowned and prolific composers in the history of film and television music. Raised in a musically inclined family—his father a jazz drummer and percussionist who performed with the Raymond Scott Quintet, and two of his siblings later contributing to his film scores—Williams was steeped in music from a young age.

In 1948, the Williams family relocated to Los Angeles, where John attended North Hollywood High School, graduating in 1950. He subsequently enrolled at the University of California, Los Angeles, where he honed his compositional skills under the tutelage of the distinguished Italian composer Mario Castelnuovo-Tedesco. Additionally, he spent a semester at Los Angeles City College, drawn to the school’s Studio Jazz Band.

In 1951, Williams enlisted in the United States Air Force, where his musical talents flourished as he played piano and bass and took on conducting and arranging duties for the U.S. Air Force Band. Reflecting on his time at the Lackland Air Force Base and later at the Northeast Air Command 596th Air Force Band in Newfoundland, Williams spoke of his experience in shaping musical arrangements for the Air Force. He also pursued music courses at the University of Arizona during his service.

After his discharge in 1955, Williams moved to New York City and enrolled at the prestigious Juilliard School to study piano with Rosina Lhévinne. Though initially aspiring to become a concert pianist, Williams’ focus shifted to composition after hearing contemporary pianists such as John Browning and Van Cliburn. As he later remarked, “It became clear…that I could write better than I could play.”

Indeed, Williams’ compositional prowess would become legendary. His enduring collaboration with filmmaker Steven Spielberg began with The Sugarland Express (1974) and continued to span an extraordinary career, with Williams scoring all but five of Spielberg’s feature films. Among his many notable works for Spielberg are the iconic scores for Jaws (1975), Star Wars (1977), E.T. the Extra-Terrestrial (1982), Schindler’s List (1993), and Indiana Jones (1981–2023). His contributions to cinema also extend to other unforgettable scores, including Superman (1978), Home Alone (1990–1992), and the first three Harry Potter films (2001–2004), with his famous Hedwig’s Theme permeating all eight films of the series.

One might assume that such a distinguished career would suffice, yet Williams’ achievements extend far beyond film scores. In addition to composing, he has conducted and written classical works for orchestra and solo instruments.

From 1980 to 1993, Williams served as the conductor of the Boston Pops, following the retirement of Arthur Fiedler, and continues to hold the title of laureate conductor. His conducting engagements have taken him to esteemed orchestras around the world, including the New York Philharmonic, the Vienna Philharmonic, the Berlin Philharmonic, and the Los Angeles Philharmonic, among many others. Notably, in his 92nd year, he conducted the Saito Kinen Orchestra in Japan, a concert now available for streaming on Disney+.

While Williams is proficient in a variety of 20th-century musical styles, his approach is most often characterized by neoromanticism. His score for Star Wars is frequently likened to Wagner’s work, particularly in its use of leitmotifs—musical themes associated with specific characters, places, or ideas. However, Williams humbly downplays direct Wagnerian influence, acknowledging the pervasive impact of Wagner on early Hollywood composers, noting, “Wagner’s presence is everywhere—you can’t avoid it. I’ve been swimming in that same river alongside all of them.”

Williams has amassed one of the most illustrious resumes in the history of film composition, earning 54 Academy Award nominations, the most of any living person, second only to Walt Disney, with five Oscar wins for Best Score (Fiddler on the Roof [1971], Jaws [1975], Star Wars [1977], E.T. the Extra-Terrestrial [1982], Schindler’s List [1993]). His accolades also include 26 Grammy Awards (with 76 nominations), three Emmy Awards (out of six nominations), four Golden Globe Awards (from 26 nominations), and seven British Academy Film Awards (from 16 nominations), among many others.

Beyond his professional awards, Williams has been lauded with numerous honors. He was inducted into the Songwriters Hall of Fame (1998), the Hollywood Bowl Hall of Fame (2000), and in 2003, he received the Olympic Order from the International Olympic Committee for his compositions for the Olympic Games. His contributions were further recognized with the Kennedy Center Honor (2004), the National Medal of Arts (2009), and a Chevalier de l’Ordre des Arts et des Lettres from the French government (2016).

In 2018, Williams became the inaugural honoree of the John Williams Award, presented by Broadcast Music, Inc. He also received the Grammy Trustees Award for his extraordinary contributions to the music industry. Notably, in 2022, he was appointed an Honorary Knight Commander of the Order of the British Empire (KBE) by Queen Elizabeth II for his “services to film music.”

Williams’ compositional output is not confined to film and television. His oeuvre includes 54 concert works, comprising nine chamber pieces, 26 orchestral works, and 19 concertos, with the most recent being Of Grit and Glory (2023). He has collaborated with some of the world’s foremost soloists, such as Itzhak Perlman and Yo-Yo Ma.

Now, at the remarkable age of 93, Williams’ pace has begun to slow ever so slightly. Yet his legacy continues to resonate in the world of music, with the Tokyo concert available for streaming on Disney+ and a documentary, Music by John Williams, also streaming on Disney+, offering a captivating glimpse into his illustrious career.

Happy birthday, Maestro.