Melhores compositores de trilhas sonoras

As one of the best known, awarded, and financially successful composers in US history, John Williams is as easy to recall as John Philip Sousa, Aaron Copland or Leonard Bernstein, illustrating why he is "America's composer" time and again. With a massive list of awards that includes over 52 Oscar nominations (five wins), twenty-odd Gold and Platinum Records, and a slew of Emmy (two wins), Golden Globe (three wins), Grammy (25 wins), National Board of Review (including a Career Achievement Award), Saturn (six wins), American Film Institute (including a Lifetime Achievement Award) and BAFTA (seven wins) citations, along with honorary doctorate degrees numbering in the teens, Williams is undoubtedly one of the most respected composers for Cinema. He's led countless national and international orchestras, most notably as the nineteenth conductor of the Boston Pops Orchestra from 1980-1993, helming three Pops tours of the US and Japan during his tenure. He currently serves as the Pop's Conductor Laureate. Also to his credit is a parallel career as an author of serious, and some not-so-serious, concert works - performed by the likes of Mstislav Rostropovich, André Previn, Itzhak Perlman, Yo-Yo Ma, Gil Shaham, Leonard Slatkin, James Ingram, Dale Clevenger, and Joshua Bell. Of particular interests are his Essay for Strings, a jazzy Prelude & Fugue, the multimedia presentation American Journey (aka The Unfinished Journey (1999)), a Sinfonietta for Winds, a song cycle featuring poems by Rita Dove, concerti for flute, violin, clarinet, trumpet, tuba, cello, bassoon and horn, fanfares for the 1984, 1988 and 1996 Summer Olympics, the 2002 Winter Olympics, and a song co-written with Alan Bergman and Marilyn Bergman for the Special Olympics! But such a list probably warrants a more detailed background...

Born in Floral Park, New York on February 8, 1932, John Towner Williams discovered music almost immediately, due in no small measure to being the son of a percussionist for CBS Radio and the Raymond Scott Quintet. After moving to Los Angeles in 1948, the young pianist and leader of his own jazz band started experimenting with arranging tunes; at age 15, he determined he was going to become a concert pianist; at 19, he premiered his first original composition, a piano sonata.

He attended both UCLA and the Los Angeles City College, studying orchestration under MGM musical associate Robert Van Eps and being privately tutored by composer Mario Castelnuovo-Tedesco, until conducting for the first time during three years with the U.S. Air Force. His return to the states brought him to Julliard, where renowned piano pedagogue Madame Rosina Lhevinne helped Williams hone his performance skills. He played in jazz clubs to pay his way; still, she encouraged him to focus on composing. So it was back to L.A., with the future maestro ready to break into the Hollywood scene.

Williams found work with the Hollywood studios as a piano player, eventually accompanying such fare such as the TV series Peter Gunn (1958), South Pacific (1958), Some Like It Hot (1959), The Apartment (1960), and To Kill a Mockingbird (1962), as well as forming a surprising friendship with Bernard Herrmann. At age 24, "Johnny Williams" became a staff arranger at Columbia and then at 20th Century-Fox, orchestrating for Alfred Newman and Lionel Newman, Dimitri Tiomkin, Franz Waxman, and other Golden Age notables. In the field of popular music, he performed and arranged for the likes of Vic Damone, Doris Day, and Mahalia Jackson... all while courting actress/singer Barbara Ruick, who became his wife until her death in 1974. John & Barbara had three children; their daughter is now a doctor, and their two sons, Joseph Williams and Mark Towner Williams, are rock musicians.

The orchestrating gigs led to serious composing jobs for television, notably Alcoa Premiere (1961), Checkmate (1960), Gilligan's Island (1964), Lost in Space (1965), Land of the Giants (1968), and his Emmy-winning scores for Heidi (1968) and Jane Eyre (1970). Daddy-O (1958) and Because They're Young (1960) brought his original music to the big theatres, but he was soon typecast doing comedies. His efforts in the genre helped guarantee his work on William Wyler's How to Steal a Million (1966), however, a major picture that immediately led to larger projects. Of course, his arrangements continued to garner attention, and he won his first Oscar for adapting Fiddler on the Roof (1971).

During the '70s, he was King of Disaster Scores with The Poseidon Adventure (1972), Earthquake (1974) and The Towering Inferno (1974). His psychological score for Images (1972) remains one of the most innovative works in soundtrack history. But his Americana - particularly The Reivers (1969) - is what caught the ear of director Steven Spielberg, then preparing for his first feature, The Sugarland Express (1974). When Spielberg reunited with Williams on Jaws (1975), they established themselves as a blockbuster team, the composer gained his first Academy Award for Original Score, and Spielberg promptly recommended Williams to a friend, George Lucas. In 1977, John Williams re-popularized the epic cinema sound of Erich Wolfgang Korngold, Franz Waxman and other composers from the Hollywood Golden Age: Star Wars: Episode IV - A New Hope (1977) became the best selling score-only soundtrack of all time, and spawned countless musical imitators. For the next five years, though the music in Hollywood changed, John Williams wrote big, brassy scores for big, brassy films - The Fury (1978), Superman (1978), 1941 (1979), Raiders of the Lost Ark (1981) ... An experiment during this period, Heartbeeps (1981), flopped. There was a long-term change of pace, nonetheless, as Williams fell in love with an interior designer and married once more.

E.T. the Extra-Terrestrial (1982) brought about his third Oscar, and The River (1984), Empire of the Sun (1987), The Accidental Tourist (1988) and Born on the Fourth of July (1989) added variety to the 1980s, as he returned to television with work on Amazing Stories (1985) and themes for NBC, including NBC Nightly News with Tom Llamas (1970). The '80s also brought the only exceptions to the composer's collaboration with Steven Spielberg - others scored both Spielberg's segment of Twilight Zone: The Movie (1983) and The Color Purple (1985).

Intending to retire, the composer's output became sporadic during the 1990s, particularly after the exciting Jurassic Park (1993) and the masterful, Oscar-winning Schindler's List (1993). This lighter workload, coupled with a number of hilarious references on The Simpsons (1989) actually seemed to renew interest in his music. Two Home Alone films (1990, 1992), JFK (1991), Nixon (1995), Sleepers (1996), Seven Years in Tibet (1997), Saving Private Ryan (1998), Angela's Ashes (1999), and a return to familiar territory with Star Wars: Episode I - The Phantom Menace (1999) recalled his creative diversity of the '70s.

In this millennium, the artist shows no interest in slowing down. His relationships with Spielberg and Lucas continue in A.I. Artificial Intelligence (2001), the remaining Star Wars prequels (2002, 2005), Minority Report (2002), Catch Me If You Can (2002), and a promised fourth Indiana Jones film. There is a more focused effort on concert works, as well, including a theme for the new Walt Disney Concert Hall and a rumored light opera. But one certain highlight is his musical magic for the world of Harry Potter (2001, 2002, 2004, etc.), which he also arranged into a concert suite geared toward teaching children about the symphony orchestra. His music remains on the whistling lips of people around the globe, in the concert halls, on the promenades, in album collections, sports arenas, and parades, and, this writer hopes, touching some place in ourselves. So keep those ears ready wherever you go, 'cause you will likely hear a bit of John Williams on your way.

German-born composer Hans Zimmer is recognized as one of Hollywood's most innovative musical talents. He featured in the music video for The Buggles' single "Video Killed the Radio Star", which became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV (August 1, 1981).

Hans Florian Zimmer was born in Frankfurt am Main, then in West Germany, the son of Brigitte (Weil) and Hans Joachim Zimmer. He entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers, which included the film My Beautiful Laundrette (1985). He soon began work on several successful solo projects, including the critically acclaimed A World Apart, and during these years Zimmer pioneered the use of combining old and new musical technologies. Today, this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer's career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year, Zimmer composed the score for another Best Picture Oscar recipient, Driving Miss Daisy (1989), starring Jessica Tandy, and Morgan Freeman.

Having already scored two Best Picture winners, in the early 1990s, Zimmer cemented his position as a preeminent talent with the award-winning score for The Lion King (1994). The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score, a Golden Globe, an American Music Award, a Tony, and two Grammy Awards. In total, Zimmer's work has been nominated for 7 Golden Globes, 7 Grammys and seven Oscars for Rain Man (1988), Gladiator (2000), The Lion King (1994), As Good as It Gets (1997), The The Preacher's Wife (1996), The Thin Red Line (1998), The Prince of Egypt (1998), and The Last Samurai (2003).

With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers' guidance. With state-of-the-art technology and a supportive creative environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical "think tank." This approach helped launch the careers of such notable composers as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, and Klaus Badelt.

In 2000, Zimmer scored the music for Gladiator (2000), for which he received an Oscar nomination, in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album Gladiator: More Music From The Motion Picture, released on the Universal Classics/Decca label. Zimmer's other scores that year included Mission: Impossible II (2000), The Road to El Dorado (2000), and An Everlasting Piece (2000), directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor (2001), The Ring (2002), four films directed by Ridley Scott; Matchstick Men (2003), Hannibal (2001), Black Hawk Down (2001), and Thelma & Louise (1991), Penny Marshall's Riding in Cars with Boys (2001), and A League of Their Own (1992), Tony Scott's True Romance (1993), Tears of the Sun (2003), Ron Howard's Backdraft (1991), Days of Thunder (1990), Smilla's Sense of Snow (1997), and the animated Spirit: Stallion of the Cimarron (2002) for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe nominated Here I Am.

At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-voice choir. Choosing selections from his impressive body of work, Zimmer performed newly orchestrated concert versions of Gladiator, Mission: Impossible II (2000), Rain Man (1988), The Lion King (1994), and The Thin Red Line (1998). The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."

In 2003, Zimmer completed his 100th film score for the film The Last Samurai, starring Tom Cruise, for which he received both a Golden Globe and a Broadcast Film Critics nomination. Zimmer then scored Nancy Meyers' comedy Something's Gotta Give (2003), the animated Dreamworks film, Shark Tale (2004) (featuring voices of Will Smith, Renée Zellweger, Robert De Niro, Jack Black, and Martin Scorsese), and Jim Brooks' Spanglish (2004) starring Adam Sandler and Téa Leoni (for which he also received a Golden Globe nomination). His 2005 projects include Paramount's The Weather Man (2005) starring Nicolas Cage, Dreamworks' Madagascar (2005), and the Warner Bros. summer release, Batman Begins (2005).

Zimmer's additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review, and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP's Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of four children.

A classmate of director Sergio Leone with whom he would form one of the great director/composer partnerships (right up there with Eisenstein & Prokofiev, Hitchcock & Herrmann, Fellini & Rota), Ennio Morricone studied at Rome's Santa Cecilia Conservatory, where he specialized in trumpet. His first film scores were relatively undistinguished, but he was hired by Leone for A Fistful of Dollars (1964) on the strength of some of his song arrangements. His score for that film, with its sparse arrangements, unorthodox instrumentation (bells, electric guitars, harmonicas, the distinctive twang of the jew's harp) and memorable tunes, revolutionized the way music would be used in Westerns, and it is hard to think of a post-Morricone Western score that doesn't in some way reflect his influence. Although his name will always be synonymous with the spaghetti Western, Morricone has also contributed to a huge range of other film genres: comedies, dramas, thrillers, horror films, romances, art movies, exploitation movies - making him one of the film world's most versatile artists. He has written nearly 400 film scores, so a brief summary is impossible, but his most memorable work includes the Leone films, Gillo Pontecorvo's The Battle of Algiers (1966) , Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988), plus a rare example of sung opening credits for Pier Paolo Pasolini's The Hawks and the Sparrows (1966).

In his ongoing, decades-long career as a composer, Alan Silvestri has blazed an innovative trail with his exciting and melodic scores, winning the applause of Hollywood and movie audiences the world over. With a credit list of over 100 films Silvestri has composed some of the most recognizable and beloved themes in movie history. His efforts have been recognized with two Oscar nominations, two Golden Globe nominations, three Grammy awards, two Emmy awards, and numerous International Film Music Critics Awards, Saturn Awards, and Hollywood Music In Media Awards.

Born in New York City and raised in Teaneck, New Jersey, Silvestri first dreamed of becoming a jazz guitar player. After spending two years at the Berklee School of Music in Boston, he hit the road as a performer and arranger. Landing in Hollywood at the age of 22, he found himself successfully composing the music for 1972's "The Doberman Gang" which established his place in the world of film composing.

The 1970s witnessed the rise of energetic synth-pop scores, establishing Silvestri as the action rhythmatist for TV's highway patrol hit "CHiPs." This action driven score caught the ear of a young filmmaker named Robert Zemeckis, whose hit film, 1984's "Romancing the Stone," was the perfect first date for the composer and director. It's success became the basis of a decades long collaboration that continues to this day. Their numerous collaborations have taken them through fascinating landscapes and stylistic variations, from the "Back to the Future" trilogy to the jazzy world of Toontown in "Who Framed Roger Rabbit?" the tension filled rooms of "What Lies Beneath" and "Death Becomes Her", to the cosmic wonder of "Contact;" the emotional isolation of "Castaway", to the magic of the "Polar Express". But perhaps no film collaboration defines their creative relationship better than Zemeckis' 1994 Best Picture winner, "Forrest Gump", for which Silvestri's gift for melodically beautiful themes earned him an Oscar and Golden Globe nomination and the affection of film music lovers everywhere. This 35 year, 21 film collaboration includes such recent films as "Flight", "Allied" and most recently "Welcome To Marwen". Zemeckis and Silvestri are currently working on "The Witches" based on Roald Dahl's 1973 classic book scheduled for release in October of 2020.

Though the Zemeckis/Silvestri collaboration is legendary, Silvestri has scored films of every imaginable style and genre. His energy has brought excitement and emotion to the hard-hitting orchestral scores for Steven Spielberg's "Ready Player One", James Cameron's "The Abyss" as well as "Predator" and "The Mummy Returns." Alan's diversity is on full display in family entertainment films such as "The Father of the Bride 1 and 2", "Parent Trap", "Stuart Little 1 and 2", Disney's "Lilo and Stitch", "The Croods" as well as "Night at the Museum 1, 2 and 3" while his passion for melody fuels the romantic emotion of films like "The Bodyguard" and "What Women Want".

Most recently, Alan has composed the music for Marvel's "Avengers: Endgame." The film is the culmination of a partnership with Marvel that began in 2011 with Alan's dynamically heroic score for "Captain America: The First Avenger" followed by "Avengers". Since 2011 Alan's collaboration with Marvel helped propel "The Avengers" and "Avengers: Infinity War" to spectacular world-wide success.

Silvestri's success has also crossed into the world of songwriting. His partnership with Six-Time Grammy Award winner Glen Ballard has produced hits such as the Grammy-winning and Oscar-nominated song "Believe" (Josh Groban) for "The Polar Express", "Butterfly Fly Away" (Miley Cyrus) for "Hannah Montana The Movie", "God Bless Us Everyone" (Andrea Bocelli) for "A Christmas Carol" and "A Hero Comes Home" (Idina Menzel) for "Beowulf".

Alan and his wife Sandra are long time residents of California's central coast. In 1998 the Silvestri family embarked on a new venture as the founders of Silvestri Vineyards. Their wines show that lovingly cultivated fruit has a music all its own. "There's something about the elemental side of winemaking that appeals to me," he says. "Both music making and wine making involve a magical blending of art and science. Just as each note brings it own voice to the melody, each vine brings it's own unique personality to the wine."

Their other great passion is the ongoing search for the cure to Type 1 Juvenile Diabetes. With the diagnosis of their son at two years of age (now 29) they continue to work the Juvenile Diabetes Research Foundation and dream of the day this disease (and all of the suffering it brings to so many) will finally become a thing of the past.

It's anything but typical for the realms of film or music... Tyler Bates regularly transitions from scoring some of the world's biggest film and television franchises, such as Guardians of the Galaxy and John Wick, to rocking massive audiences with Marilyn Manson and back to the studio again writing and producing. The musical voice of this highly sought-after composer, guitarist, songwriter, and record producer can be heard in every corner of pop culture-from video games to the Disney California Adventure attraction, Guardians of the Galaxy - Mission Breakout! In 2004, he made waves by creating the menacing audio backdrop for the popular Zack Snyder Dawn of the Dead reboot followed by his soundtrack for the filmmaker's 300, which remains one of the 21st century's biggest-selling score albums. His oeuvre expanded to include Watchmen and Sucker Punch both helmed by Snyder, several collaborations with Rob Zombie-including The Devil's Rejects, Halloween, and Halloween II-and Killer Joe directed by Academy Award® winner William Friedkin. Beyond composing for Guardians of the Galaxy Vol. 1 & Vol2., he produced a fan favorite "disco version" of his "Guardians of the Galaxy" main theme, titled "Guardians Inferno," co-written with director and long-time collaborator, James Gunn [feat. David Hasselhoff] and performed the second installment's score at the 2017 MOSMA Festival in Spain. John Wick: Chapter 2 represents the nexus of his work as a composer, performer, and songwriter. He penned the closing credits tune "A Job To Do" alongside legendary Alice In Chains guitarist and vocalist Jerry Cantrell and performed on-screen during the climactic "Rock Opera" sequence. Elsewhere, his sonic presence reverberates throughout Showtime's Californication, Audience Network's Kingdom, WGN America's Salem, and more as well as video games such as Killzone: Shadow Fall, God of War: Ascension, Army of Two 40th Day, and China's massive Crossfire. He also wrote the theme for his favorite NFL team the Tennessee Titans, and performed the "Star-Spangled Banner" solo in the rain during a 2015 game. Bates co-wrote and produced Manson's 2015 epic, The Pale Emperor. A runaway success, it crashed the Top 10 of the Billboard Top 200 at #6 and earned widespread critical acclaim with Rolling Stone hailing it as the "#1 Metal Album of 2015." As the band's lead guitarist, he dedicated over a year to touring in support of the album on the headline Hell Not Hallelujah Tour, an arena run with Slipknot, and various festivals worldwide. In 2017, he once again joined forces in the studio with Manson on the follow-up Heaven Upside Down and returns to the road for a string of high-profile touring. In 2017, he scored the blockbuster Atomic Blonde, starring Academy Award® winner Charlize Theron in addition to producing Health's cover of "Blue Monday" and re-invigorating Ministry's "Stigmata" with Manson, for two of the film's key sequences. Bates' voice also permeates NETFLIX's upcoming The Punisher. With several exciting projects slated for 2018 including Deadpool 2, The Spy Who Dumped Me & the return of The Punisher for season 2. Tyler Bates will undoubtedly continue to redefine what a composer is.

John Murphy is a British film composer from Liverpool. He began composing music scores for films in the early 1990s, working on several successful British movies, enjoying particular success with the soundtracks to Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000).

Since 2000, Murphy has been based in Los Angeles. From here, he has worked with some of the industry's most respected and luminary filmmakers, including Danny Boyle, Stephen Frears and Michael Mann, and produced several prominent and diverse successes, including 28 Days Later, Miami Vice, Sunshine and 28 Weeks Later.

Ludovico Einaudi was born on 23 November 1955 in Turin, Italy. He is a composer and actor, known for Nomadland (2020), The Father (2020) and This Is England (2006).

Michael Giacchino is an American composer of music for films, television and video games.

Giacchino composed the scores to the television series Lost, Alias and Fringe, the video game series Medal of Honor and Call of Duty and many films such as The Incredibles (2004), Star Trek (2009), Up (2009), Dawn of the Planet of the Apes (2014), Jurassic World (2015), Inside Out (2015), Spider-Man: Homecoming (2017), War for the Planet of the Apes (2017) and Coco (2017).

For his work on Up he earned an Academy Award for Best Original Score.

James Horner began studying piano at the age of five, and trained at the Royal College of Music in London, England, before moving to California in the 1970s. After receiving a bachelor's degree in music at USC, he would go on to earn his master's degree at UCLA and teach music theory there. He later completed his Ph.D. in Music Composition and Theory at UCLA. Horner began scoring student films for the American Film Institute in the late 1970s, which paved the way for scoring assignments on a number of small-scale films. His first large, high-profile project was composing music for Star Trek II: The Wrath of Khan (1982), which would lead to numerous other film offers and opportunities to work with world-class performers such as the London Symphony Orchestra. With over 75 projects to his name, and work with people such as George Lucas, Steven Spielberg, James Cameron, Oliver Stone, and Ron Howard, Horner firmly established himself as a strong voice in the world of film scoring. In addition, Horner composed a classical concert piece in the 1980s, called "Spectral Shimmers", which was world premiered by the Indianapolis Symphony Orchestra. Horner passed away in a plane crash on June 22, 2015, two months short of his 62nd birthday.

As a child in Cape Town, Trevor Jones lived opposite the Gem Cinema. The theater was so old and worn out that there was often a loss of the soundtrack, which caused him to realize its power. The fact that everyone in his family worked in film or the theater made it easy to get support in his career choice, but it was the cinema across the street that truly inspired him. At 17, Jones won a scholarship to the Royal Academy of Music, which his mother was fully behind. Not being from England, he could only stay four years, but he did not wish to return due to lack of industry and South African politics. In his third year, he won an award which brought him to the attention of the BBC, where he worked four years as a classical music reviewer, the time allowing him to become a naturalized British citizen. One day there he met Dr. Wilfrid Mellers, a professor at York Universiy, who helped him design a four-year course plan studying all types of music, from the ethnic to the avant garde, music concrete, and electronic. He then went to the British National Film School for an M.A. in film music, and he learned all aspects of filmmaking, directing, writing, and photographing many student films, and composing the music for most everybody at the university. His education in the field took twelve years.

His use of professional musicians allowed him to go straight into the industry. He initially scored shorts with Roger Christian, and was discovered by John Boorman after working on an Irish TV show. Boorman allowed him to write 55 minutes of music for Excalibur (1981) in addition to the classical pieces of Wagner and Orff that were used. Jim Henson called him for The Dark Crystal (1982) even before he had a script, and he would work on Henson projects, along with others, until Henson's death. Jones was nominated for a Golden Globe for his work on The Last of the Mohicans (1992). This success makes him frequently on call, particularly when he is in Los Angeles (where his wife and four children like to accompany him), but he wants to do small, low budget films as well as large, taking small salaries to work on film in which he is really interested. He cites Mark Herman and John Henderson among his favorite directors to work with. He has also worked well with Barbet Schroeder and Richard Loncraine. His attention to the film as an art form is indicative in his work ethic: only one at a time. He once talked himself out of work on a film he thought needed no music. They took his suggestion and won an award. The Last Days of Pompeii (1984) was a film in which he was brought in very late and did not meet the director or the dubbing mixer. "That was the first and only time on a film that I'd never met the director", Jones says. Jones tries to keep from becoming typecast, wanting to work on all types of films, and not do films of the same kind all together, when composers are among the most typecast artists in the industry. His style has worked well, as he has had more films in 1997 and 1998 than in any other single year.