Top Ten Favorite Composers

Compiled by Lukas Kendall

More great lists! Yeah, baby! See the FSD archive for access to more columns on this subject. I know this "thread" is running on way too long, so don't send any more lists for now -- but feel to keep discussion alive on our message board.

Thomas Newman. Newman is a brilliant and sensitive musician whose talents extend to orchestrational and compositional structures that are as thoughful and complex as some of the best works of Herrmann and North. "The Horse Whisperer" was great, but scores like "Flesh and Bone" and "Mad City" are excellent examples of how film music can be taken to subtly brilliant lengths.

Bruce Broughton. Sure, my recent buyer's guide in FSM may have given this one away, but it's high time that the level of complexity and thematic innovation that has gone into his best efforts be more appreciated: "Tombstone", "Silverado", "True Women", "Carried Away", and "Lost in Space".

Basil Poledouris. "Les Miserables" didn't thrill me, but the score for "Breakdown" was absolutely astonishing in both its spacity and understated complexity. It's a crying shame that this music hasn't been released commercially; it's quite something else on its own. "Starship Troopers" was heralded a bit too much, I thought, but I found more and more to it after each listen.

Patrick Doyle. As my best friend says, like, duh! "Great Expectations" is a stunner, as has been just about everything this man has done in the past few years: "Hamlet", "Donnie Brasco", "Sense and Sensibility".

Elliot Goldenthal. Sure, he's an aquired taste, but, like Thomas Newman, there's much more than meets the eye (or ear) with his scores. Just take a gander at "Michael Collins", "Cobb", and "Heat" and, once you get past those annoying brass trills, there's an incredible amount of musicality under the surface.

Howard Shore. Again, like Newman and Goldenthal, his music is another acquired taste, but no less rewarding once listened to and savored. "Cop Land" didn't get me going, but "The Game", "Nobody's Fool", and "The Fly" sure do.

I love looking at everyone else's top ten list (usually just to see where Elfman is). However, the problem these lists often run into is that they're all virtually identical to one another: Williams and Goldsmith are in the top three, Barry and Morricone are around there somewhere, and the young 'uns (Elfman, Horner, etc.) usually end uprounding out the pack. I present this list of the top ten composers whom, unless you're a soundtrack freak, you've probably never heard of:

Top Ten Unknown Composers

1. Patrick Doyle--While he's finally coming into his own, he remains one of the quiet dynamos of the soundtrack world. He's proven his ability to write in many different styles, my favorite being the bombastic Williamsesque approach of full orchestra with which he has scored Kenneth Brannagh's Shakespearean epics (Henry V, Hamlet).

2. Trevor Jones--This one's been around for a while, but still doesn't get the recognition he deserves. He's scored about a zillion movies and from his first big feature (Excalibur) to his more recent work (Merlin, Dark City), Jones has shown that not only has he evolved, but he hasn't lost any wind doing so.

3. Basil Poledouris--Another of the elder unknowns, Poledouris has been lauded by those in the know for at least a decade. His scores for Conan the Barbarian and Robocop are virtually requirements for top ten soundtrack lists. Poledouris's dark approach to big scoring certainly seets him apart from the rest of his peers.

4. Thomas Newman--One of the great innovators in film music. Newman started out doing some of the more popular eighties movies, like Real Genius and Gung Ho! Submersed in comedies, he developed a light, wistful approach that has stayed with him. A string-heavy composer, Newman reintroduced the guitar to film music, and also did some revolutionary things with the classical string section, most notably in Unstrung Heroes.

5. Graeme Revell--Another big innovator. He came into composing just when scores started to incorporate recent "pop" sounds, like electronica and grunge, and Revell lent great support to this movement while still maintaining the classic orchestral sound.

6. Elliott Goldenthal--the bridge between romanticism and twentieth-century film composition. Goldenthal's work combines the big-orchestra sensibility of Shostakovich, Prokofiev, and, yes, Williams, while branching out into atonal composition, which results in groundbreaking music that still sound good to a classically-minded listener. Bravo.

7. John Lurie--Everyone casts Lurie to the wayside because he doesn't score with orchestra. Well, never mind that he's been the leading voice in the wave of pop film composers, and he's done some pretty cool stuff. I can't get through the day without hearing Get Shorty at least once--now that's some stone cold funk.

8. Shirley Walker--The long-time staple of Elfman's crew, Walker has proven her worht ever since she struck out on her own with the Batman animated movie, Mask of the Phantasm. Walker seems to be reluctant to break away from television, but she's got some great things to say musically, and when she does, watch out.

9. Mychael Danna--I was startled and pleasantly surprised at The Ice Storm. More great innovation from this newcomer, and it doesn't show signs of stopping.

10. J. Peter Robinson--I just wanted to plug Robinson in here because he's become my favorite underdog of late. If you have the chance to pick up any of the Jackie Chan soundtracks, do so, because it's like crossing John Barry with Hans Zimmer. If he would only lose the synthesized brass...

I'm weird, so don't be too shocked by what you may find... (all lists in alphabetical order)

1. ELMER BERNSTEIN In addition to his classic entries, Bernstein's recent work has been most impressive. Within the past few years, we have seen The Field, The Grifters and Rambling Rose. Even if his most recent works (Last Man Standing, The Rainmaker) don't seem as important, they are still head and shoulders above most composer's music. People who reject scores by this guy are retarded; in addition to his enormous talent, as was pointed out not too long ago, Bernstein has one of the most recognizable musical vocabulary in film-music, and manages to speak it without repeating himself.

2. CARTER BURWELL I know everyone is going to look at this and roll there eyes, but I really think that Burwell has one of the most moving voices in film-music today. I've been hooked ever since I saw Barton Fink, and his best work (not available on album) is Waterland. His music combines traditional methods with a spareness that is all his own. And his approach is always perfect for the film.

3. PATRICK DOYLE When I head Henry V, I knew something was up. Then came Dead Again and Indochine, and I realized we all felt it... someone new was making waves... Even his score for Great Expectations, a frightening prospect when you look at the mishmash of performers listed on the record sleeve, pulled all of its disparate elements together to form a wonderful work of film music.

4. DANNY ELFMAN Elfman is more exciting now than he's ever been. He still writes those bizarre-o themes that get themselves out of situations other composers wouldn't have put them in, and on top of that is his newly found musical sophistication. This means that he can use simple building blocks, but create a strange and complex tapestry. Mission Impossible, Mars Attacks, Men in Black and Good Will Hunting all prove that he can be just as interesting as when he was composing Pee Wee's Big Adventure, Beetlejuice and Batman.

5. JERRY GOLDSMITH Although I love his music, I wouldn't neccesarily have put him on this list last year. But that was before The Edge and L.A. Confidential. These works point, in some ways, to a return to his classic period in the sixties and seventies. I am eagerly awaiting his next work for a worthy drama.

6. LEE HOLDRIDGE Into Thin Air: Death on Everest served as a reminder that melodic action scores don't come from big budget productions any- more. All of Holdridge's scores have been interesting (and made for some great listening outside of the film as well), and he continues to deliver the goods. Holdridge is also an audiophile, which means that the albums pressed of his film-music always sound great.

7. THOMAS NEWMAN When I realized I was listening to The Player nonstop, I knew I was in for it. Fried Green Tomatoes, The Shawshank Redemption, Little Women and all the rest managed to reach a wider audience, and I love those entries as well. But what I really crave in a Tom Newman score (and what's usually there, somewhere) is that kinky sound that I fell in love with from The Player.

8. HOWARD SHORE Crash, Looking for Richard and The Game are all recent examples of Shore's brilliance. He just doesn't know how to write a bad score.

9. JOHN WILLIAMS What can be said that hasn't been already? His music is becoming more subdued. Although we will probably never see another work as complex and dense as Images in his current work, we're almost getting there with some of his darker, more intricate material. Too bad he wastes his time on the Spielberg films. He produces such good music for such a childish vision of the world. It would be nice if he had something real to sink his teeth into.

10. CHRISTOPHER YOUNG The film-music fan's favorite guy... well, Copycat and Hard Rain are films in which he finally made it to the big leagues, and if his sound is a bit watered-down here, well, it's still pretty @#%&ing good.

HONORABLE MENTIONS: John Barry, Bruce Broughton, Elliot Goldenthal, Michael Kamen, Ennio Morricone, Michael Nyman, John Ottman, Graeme Revell, Lalo Schifrin, John Scott

TOP TEN COMPOSERS I WISH WERE STILL ALIVE: Bernard Herrmann, James Horner, Erich Wolfgang Korngold, Henry Mancini, Alex North, Sergei Prokofiev, Miklos Rozsa, Dimitri Shostakovich, Ralph Vaughn-Williams, Franz Waxman

1. John Williams - The reason why I began listening to film music. My favourites - Empire Strikes Back, Raiders of the Lost Ark and Superman

2. John Barry - Although his latest work is too similar and repetitive, I still love it. Faves - The Living Daylights and Swept From The Sea

3. Jerry Goldsmith - One of the most talented composers in film history. Faves - The Omen and Poltergiest

4. James Horner - Gotta stop cloning his and other people's work, I prefer his old stuff Faves - Krull, Braveheart and Star Trek 2

5. Christopher Young - One of the best when it comes to horror Fave - Hellraiser

6. Hans Zimmer - Like what I have heard so far and that's not many. Faves - Black Rain and Crimson Tide

7. Danny Elfman - Has talent and has shown what he is capable of in Good Will Hunting. Faves - Batman and Edward Scissorhands

8. David Arnold - Has immense talent but needs to show it off with the right film. Just keep away from Devlin and Emmerich films. Faves - Tomorrow Never Dies and Stargate

9. Patrick Doyle - Really like what I have heard so far, needs more exposure. Faves - A little Princess and Needful Things

10. Basil Poledouris - Love his action music, I think he needs more exposure. Favourite - Hunt For Red October

Subject: Ten Best Current Composers

1) Jerry Goldsmith, 2) John Barry, 3) Christopher Young, 4) Howard Shore, 5) John Williams, 6) Danny Elfman, 7) Elmer Bernstein, 8) Elliot Goldenthal, 9) Basil Poledouris, 10) Patrick Doyle

These are in no particular order. Each have their inate strengths. One condition: they're all alive and working!!!

1. Alan Silvestri - Should have won an Oscar many moons ago. One of the true MAJOR composers working today - respected by his peers and you get him if you can afford him. Shares the theme-writing throne with Williams. And a consummate professional (his orchestras love him). He is particularly strong when macho is the order of the day. Conversely, no one jerks a tear as hard. Also an innovator in integrating electronics into modern film scoring. Top Picks: Back to the Future, Predator, Forrest Gump, The Abyss, Theme to the Bodyguard

2. Danny Elfman - defies all odds. continually amazes the rest of the pack and remains comfortable in a zillion genres. the only composer to write what will be considered a classic of our generation (nightmare before christmas). established a niche of his own despite lack of "old school" skills (which he now possesses). Scores without fear. A genius. Top Picks: Edward Scissorhands, Mission Impossible, Batman, Nightmare Before Christmas

3. James Newton Howard - Who? That's what most people say. JNH continually writes monster themes and is absolutely one of the best at integrating electronics and real players. Cool, moody textures that break into polished rolicks. Probably copied more than anyone else out there, but we just don't know it. Top Picks: Waterworld, The Fugitive, Wyatt Earp, Devil's Advocate

4. John Williams - Duh. The only composer continutally pushing his music to iconic proportions. Top Picks: Star Wars, Jaws, Schindler's List, JFK

5. Jerry Goldsmith - The living master. He can do it all. Still as vital as ever and writes at "warp" speed. The guy to get if you can. Top Picks: Patton, The Omen, King Solomon's Mines (I'm not kidding, this score ROCKS), Legend

6. David Arnold - Strongest up and comer. Has a firm grasp on new and old Hollywood styles. Handles woodwinds with the grace of Williams. Needs better films. Has to get off the blockbuster wagon, find some good indies and stretch out. Top Picks: Stargate, Tomorrow Never Dies

7. Thomas Newman - master of understatement. No one creates the quiet, moving soundscape like him. Strong theme writer, interesting highly textured cues. Top Picks: Shawshank Redemption, Little Women, American Buffalo, Corinna Corinna

8. Elliot Goldenthal - another composer with no fear. always coming up with quirky, challenging stuff. Does most of his best work on smaller, stranger films. Top Picks: Heat, Butcher Boy, Alien 3, Cobb

9. Howard Shore - A secret pleasure. I don't think this guy is capable of writing bad film music. Consistently goes where no man has gone before. Tremendous depth. Really knows how to disturb people and make them laugh. My choice for a composer if I were directing. Top Picks: Seven, Silence of the Lambs, Ed Wood, The Fly

10. James Horner - Mr. Workhorse. Although I'm NOT a fan of Titanic, JH has cooked up some great themes. Still takes time to do smaller films he likes. Has a sound all his own and delivers for the studios. Top Picks: Braveheart, Legends of the Fall, Spitfire Grill, House of Cards

Guy to watch out for:

Marco Beltrami - A time bomb. This guy's got chops. Although Scream and Mimic were great, get him away from horror flicks. Trust me on this.

Tomorrow: Upcoming Film Music Concerts!