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He composed scores for a number of ballets, including two of the most popular of the time: “Agnes DeMille’s Rodeo” (1942) and Martha Graham’s “Appalachian Spring” (1944), for which he won the Pulitzer Prize. He obtained musical education at universities. However, Coste and Mertz were rather limited to the guitar, whereas Sor and especially Giuliani were full chamber orchestra composers with the capacity to write large scale compositions.

Pages: 256

Publisher: Bloomsbury Publishing PLC (September 28, 1995)

ISBN: 0747523568

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Within two years, he was starting to pen additional music for Danna’s score, a relationship that continued on films including “Surf’s Up,” “The Imaginarium Of Doctor Parnassus,” “Moneyball” and “Life of Pi.” But occasionally, their collaboration was even closer: together, they wrote the scores for 2008’s “Management,” 2009’s ‘(500) Days Of Summer” and Joss Whedon’s series “Dollhouse” before Simonsen landed his first high-profile solo gig on the Ryan Gosling/Kirsten Dunst starrer “All Good Things.” Since then, Simonsen’s increasingly become a go-to guy in the indie world, penning scores for “Girl Most Likely,” ‘The Spectacular Now,” “The Way Way Back” and most recently, Zach Braff’s “Wish I Was Here.” His music is typically quiet, borderline minimalist, often leaning mostly on piano and guitar, but it’s been enormously effective: his lightly sunny, unexpectedly melancholy “Way Way Back” was a highlight of the film, while the subtly playful “The Spectacular Now” was a mature and lovely accompaniment to James Ponsoldt’s sweetly sincere teen flick read Songs of Freedom online.

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