约翰·巴里 (1933年11月3日—2011年1月30日) ，当代最具代表性的大师级电影音乐家之一，曾以《冬之狮》，《狮子与我》，《走出非洲》和《与狼共舞》获得四座最佳原著音乐金像奖，《狮子与我》的”Born Free”并获得金像奖最佳原著歌曲奖。他的早期配乐作品以００７系列最为脍炙人口，鲜明的音乐形象与历久不衰的流传魅力，比美Ennio Morricone的流浪镖客与John Williams的银河战史。近期的作品则转变成细腻唯美的浪漫史诗风格，如《时光倒流70年》，《走出非洲》和《与狼共舞》等，不仅在各项电影音乐奖项上大有斩获，也成为唱片巿场上历久不衰的长青专辑。大致上来说，我们也的确可以将John Barry的作品区分成早期的爵士音乐，与近期的唯美管弦两种典型风格．\r \r John Barry原名Jonathan Barry Predergast，１９３３年11月３日生于英国。由于父亲经营多家剧院（也可当作音乐厅），因此自幼John Barry即与许多欧洲知名交响乐团或音乐家有所接触。John Barry的母亲也是一名钢琴家，而且九岁时便安排John Barry学习钢琴，为John Barry打下很好的音乐根基。加上John Barry称得上是戏院的少东，耳濡目染下，很早就迷上电影与电影音乐。他说很小都就想过自己要当一个像Max Steiner或Franz Waxman那样的电影音乐家，只是不知如何去做这样的事．\r \r ６０年代，John Barry结束军旅生涯返回英国，他组成爵士乐团John Barry Seven，在流行音乐界颇有一席之地．１９６２年，伊恩·弗莱明（Ian Fleming）的谍特小说００７系列首次搬上大银幕。第一部邦德电影《007》的配乐者原来签定了Monty Norman，但John Barry的朋友邀请John Barry为这部配乐补强一下，希望John Barry能帮忙写一个主题音乐。John Barry原来并不打算答应，因为他认为自己的风格和Monty Norman并不符合，但在重金引诱下，John Barry还是答应替Norman的作品做一些修改。不过John Barry坦白表示要他写的话，恐怕就要完全依他的意思改才行，Norman对这种作法表示：虽然这样让我挺没面子，不过你放手做就是！\r \r 于是John Barry花了整个周末改写一首新的主题音乐。原来John Barry以为这个音乐只会被当成片头音乐，直到后来进了戏院才发现整部电影，到处听得到这个主题。而他不但没有被事先告知，甚至也没有挂名作者。John Barry自然得打通电话向制片人抗议一番。不过，制片告诉他，先别这么生气，因为他们已经决定把所有的邦德电影续集都交给John Barry配乐了。直至今日，邦德主题的原作者，究竟算是Monty Norman还是John Barry仍颇有争议，不过由于后来John Barry陆续谱写了１１部邦德电影音乐，因此，邦德电影音乐仍是John Barry最具代表性的招牌名作．\r \r John Barry最后为邦德电影效力是１９８７年的《黎明生机》，之后陆续由Michael Kamen，Eric Serra与David Arnold等新秀接手。邦德系列不仅让John Barry扬名影坛，建立了谍特斗智电影音乐的基本形象，同时也是John Barry爵士音乐风格的代表作。除了这个系列外，《体热》，《午夜牛郎》以及《棉花俱乐部》等作品，也都展现了John Barry道地的爵士功力，不过近年来John Barry显然较少有这一类的作品了。\r \r 大约自《时光倒流70年》之后，Jahn Barry开始以唯美管弦为主要的作品型态，让人不免为John Barry勾勒出一幅罗曼蒂克的艺术家形象。但实际上Barry的性格却是出名的火爆，这种性格也是基于他对艺术的坚持。比如他毅然退出＜西雅图夜未眠＞和＜惠妮休斯顿之终极保镖＞等卖座影片的配乐，原因都是因为他不认为一个”配乐家”，能在这样塞满歌曲的电影中表现什么。说起来Barry的管弦编曲手法并不丰富，有时几乎是千篇一律，这多少会让人觉得他的管弦作品每一部听起来都很相似。不过由于旋律上的精雕细琢与超凡脱俗的唯美情怀，在这些风格雷同的管弦作品中，John Barry仍旧打造了几部傲视影史的经典名作。也许John Barry正是一名浪漫主义的性情中人，这几部相当杰出的管弦作品，几乎都象征了他生命中的重大历程。John Barry将１９８０年的《时光倒流70年》献给了他在四个月中相继过世的双亲，１９８５年的《走出非洲》则献给因意外而过世的弟弟派屈克，８０年代末期John Barry由于健康因素，导致作品产量锐减甚至停顿（据说是因为误食不合格的“健康食品”导致食道破裂），直到１９９０年才以《与狼共舞》复出，并即刻夺下金像奖，John Barry将这部作品献给三位帮助他度过健康危机的医生。\r \r 邦德音乐的爵士风情和浪漫管弦这两种典型的乐风，是一般乐迷对John Barry的基本印象。１９９８年John Barry发表非电影音乐的个人专辑”The Beyondness of Things”，也是以这两类的音乐风格为主。不过其实John Barry也写过不少兼具管弦气势与古典史诗美的音乐作品，其中大多是历史剧。１９６８年的《冬之狮》尤其是代表作，也是John Barry本人最喜爱的一部作品。《冬之狮》的故事发生在比音乐记谱更早的时代，John Barry全凭个人的研究和揣摩，塑造出他认为应该存在于那个时代，而且吻合故事情境的音乐，是一部相当精彩的史诗巨构，绝对能让熟悉Barry的乐迷大感惊奇。\r \r John Barry最为不愉快的一次配乐经验，大概就是接下Barbra Streisand的《潮浪王子》，他与芭芭拉·史翠珊（Barbra Streisand）始终意见不合，而且他认为Streisand对配乐家的干预太多，他无法和人这般共事，所以最后John Barry还是决定退出这部作品，后来这部配乐由新秀James Newton Howard接手。至于谈到John Barry真正最想做，却没有机会做的电影音乐，John Barry则提出两部电影，一是史丹利·库布力克的《２００１年太空漫游》，坦白说这也是当代许多配乐家渴望能接下的作品，不过最后库布力克选择了古典音乐；另一部则是《天堂电影院》，John Barry说：当然，Ennio Morricone写的音乐很完美，我之所以希望能为这部电影配乐，是因为它的故事内容，俨然就像我的童年生活一般。\r \r 近年来John Barry的作品数量逐年递减，主要仍是由于健康考量。虽然每年只有一部左右的作品推出，仍旧令不少乐迷引领企首。他的近期作品有《桃色交易》，《终极密码战》，《魔鬼专家》等等。当迈入2001年——Beat Girl问世四十年后，Barry在电影音乐创作上毫无懈怠之相，最近的作品包括Cry The Beloved Rising及Enigma，专辑Moviola和The Beyondness Of Things、Eternal Echoes的成功，使Barry回到伦敦皇家阿尔伯特音乐厅指挥了一系列的音乐会演奏。\r \r by Bruce Eder\r John Barry is one of the best-known composers of soundtrack music of the late 20th and early 21st centuries, but his career has carried him through a multitude of music genres and styles. He is best-known in film in connection with his work on the James Bond pictures, but Barry is also the holder of five Academy Awards, none of them for the Bond movies. Born Free (for which he won Oscars for Best Score and Best Song), The Lion in Winter, Out of Africa, and Dances With Wolves are hardly unknown films or scores. Additionally, from 1957 until the early 60s as leader of the John Barry Seven, Barry was one of the best-known figures in popular music and early rock & roll in England. Born in York, England, on November 3, 1933, John Barry was the son of a small movie theater chain owner and a former concert pianist. He showed an avid interest in music as a boy and initially studied piano, although he switched to the trumpet in his teens. After spending much of his boyhood steeped in classical music, he discovered jazz — his idol was Harry James and his favorite music was made by Benny Goodman, Duke Ellington, Woody Herman, and the Dorsey Brothers.\r \r Barry studied piano and composition with the music master of York Minster Cathedral, Dr. Francis Jackson, and had a deep interest in arranging. Growing up around his fathers movie theater business, Barry was always cognizant of the power and influence of the cinema, but it was a specific film, A Song to Remember, dealing with the life of Fryderyc Chopin, that first demonstrated to him the power of music in movies and got him interested in the field. He also credits Max Steiners score for The Treasure of the Sierra Madre and Anton Karas music for The Third Man as favorite film scores from his early life. Barry played with a local jazz band in his mid-teens, and was lucky enough to get himself assigned to a musical unit in the British Army when he was called up for National Service at age 18. During his two years of Army service, he tried his hand at arranging, and he later enhanced his skills by taking a correspondence course offered by Bill Russo, one of Stan Kentons arrangers. Once he was back in civilian life, Barry offered his arrangements to some of the top bandleaders in England, among them Ted Heath, Jack Parnell, and Johnny Dankworth. Dankworth actually used two of them, and at Parnells suggestion, Barry started his own band. The result was John Barry & the Seven, later known as the John Barry Seven. He moved the group to London in 1957 and approached Jack Good, the producer of British televisions top music showcase The Six-Five Special, but was turned down for the show. After a few weeks and some successful live engagements including a gig as the backing band for Tommy Steele, the shows producers changed their minds and the John Barry Seven made it onto The Six-Five Special. The group became immensely popular from their appearances on the program, and Barry was the star, not only playing trumpet but also handling the vocal chores. By this time, the rock & roll boom was going full swing, and his singing frequently required Barry to do his best Elvis- or Carl Perkins-style vocalizing.\r \r It was out of their appearances on the program that they were signed to EMIs Parlophone Records label. The groups next big gig was as one of the resident house bands for Goods new program, Oh Boy!, which was a showcase for many of the most dynamic young rock & roll singers coming up in England, including Cliff Richard. It was from there that Barry moved on to become music director for Drum Beat, a dramatic program starring a young singer/actor named Adam Faith. From 1959 until 1962, he and Faith were an unbeatable combination, both onscreen and in the recording studio, releasing a string of major British hits through the Parlophone label. During this period, Barry also arranged and led the accompaniment for numerous other EMI recording artists, including Desmond Lane, the England Sisters, and Bill and Bret Landis. The John Barry Seven also enjoyed hits of their own, including Hit or Miss and a version of the Ventures Walk Dont Run. They were known for their unusual sound, owing to their bold yet precise playing and their heavy use of electric piano and other relatively uncommon instruments (this in a time when the electric bass was barely tolerated). They were among the star instrumental acts of the day and, surprisingly, cut albums for EMIs Columbia Records, which was already the home of the Shadows, the groups biggest rivals.\r \r In 1960, Barry was also invited to write his first film score, for the juvenile delinquency drama Beat Girl starring Adam Faith. The results were an impressive mix of brass, heavy electric guitar (courtesy of John Barry Seven guitarist Vic Flick), and orchestra. Barry also later devised an entire album, Stringbeat, in which he juxtaposed the groups sound with that of a string orchestra. Barry was involved with numerous projects of all kinds during this period. Although it seems hard to believe in retrospect, at that point, the John Barry Seven were the major rivals to the Shadows, Cliff Richards backing group, who were known for their instrumental singles. The group started the year with a release called The Cool Mikado, an update of the Gilbert & Sullivan operetta, but there were far more important milestones in his career that year. Barry was engaged by the producers of a film called Dr. No to write and arrange a finished score from work begun by composer Monty Norman. The film itself was a hit and Barrys work sufficiently impressed the producers, Harry Saltzman and Albert Broccoli, to get him the gig writing the full score for the next movie, and for more than two decades worth of subsequent James Bond movies up through 1985s A View to a Kill. Several of these featured songs that Barry had co-written, including Goldfinger, Thunderball, and You Only Live Twice, became hits of varying proportions and longevity in their own right for artists such as Shirley Bassey, Tom Jones, and Nancy Sinatra. The best of his James Bond songs may be the most unusual, We Have All the Time in the World from On Her Majestys Secret Service, which was sung by Louis Armstrong. If Beat Girl had established Barrys British film credentials, Dr. No and the next two movies in the series, From Russia With Love and Goldfinger, made Barrys name international.\r \r It was with Born Free, however, that he moved into the front ranks of popular film composers, with the score and the Oscar-winning title song. From then on, he was in a position to score some of the biggest and most daring films being made in England or Hollywood, ranging from the hour-long experimental film Dutchman to high-profile dramas like The Lion in Winter (for which he won his third Oscar). In 1962, the same year he composed the music for the first James Bond movie, Barry also left EMI to join the independent Ember Records label. In addition to doing his own recordings, Barry produced and arranged the music for dozens of Ember artists, including Chad & Jeremy, and also produced such best-selling comedy albums as Fool Britannia, Anthony Newley and Leslie Bricusses savage satire of the Profumo scandal that had nearly toppled the British government.\r \r In the midst of his burgeoning film work, Barry found time to make albums of his own on occasion, usually featuring re-recordings of his best movie-related music. In 1999, he also released one album of his classical instrumental style compositions, The Beyondness of Things. Barry suffered a life-threatening injury at the end of the 80s from which his recovery seemed problematic. He survived with help from a very good physician and one of the first results of this new lease on life was Barrys music for Dances With Wolves, which was one of his most ambitious soundtrack creations ever, filled with complex orchestral parts and sweeping, almost Mahler-like melodic arcs and textures, earning his fifth Oscar in the process. In 1992, he was nominated for a his sixth Oscar for his music for Chaplin