Academy Award-nominated composer Jóhann Jóhannsson upheld divided Friday (Feb. 9) in Berlin. The Golden Globe-winner was 48. His manager reliable his death, a means of that is unknown.
Jóhannsson was one of a many innovative contemporary composers operative today, mostly melding electronic adaptation with exemplary orchestration.
In 2015, Jóhannsson won a Golden Globe and perceived Oscar, BAFTA and Grammy nominations for his critically acclaimed measure for The Theory of Everything. In 2016, he was nominated for Oscar and BAFTA awards for his measure for executive Denis Villeneuve’s film Sicario. That year also saw a recover of Arrival, another partnership with Villeneuve, for that Jóhannsson perceived Golden Globe, BAFTA and Grammy nominations. He many recently collaborated with executive Darren Aronofsky on mother!.
Jóhannsson also wrote a measure for Mandy, a Nicolas Cage-starring fear film, that drew soap-box reviews during Sundance, as good as Garth Davis’s new film, Mary Magdalene, out after this year.His measure for James Marsh’s new film, The Mercy, that total newly created and existent pieces from Jóhannsson’s catalog was expelled on Deutsche Grammophone Feb. 2.
Jóhannsson’s process was to plea himself by essay a many formidable evidence first. “This is utterly mostly a case, during slightest for me,” he told me in an talk for The Hollywood Reporter after receiving a Oscar curtsy for his dark, pulsating measure for Sicario. “I tend to try to start with a many formidable stage or a some-more poignant scenes in a film to try to get things started.”
Jóhannsson drew influences from mythological composers such as John Williams and Ennio Morricone. In a same THR interview, Jóhannsson praised his associate hopeful (and ultimate winner) Morricone for heading a proceed with his innovative approach. “He was operative with a studio as an instrument and with wiring and avant garde improvisors,” pronounced Jóhannsson, who did a same. “I’m a outrageous fan of a proceed he combines his free clarity of tune with a clarity of experimentation.”
In further to his film scores, Jóhannsson had a career as a solo musician and stoical song for theater, dance and television. His initial solo album, Englabörn, was expelled in 2002. Later works embody Virðulegu Forsetar (2004), Fordlândia (2008), IBM 1401 — A User’s Manual (2006), The Miners’ Hymns (2010) and Orphée (2016). In 2015, Drone Mass, Jóhannsson’s square for a fibre quartet, wiring and outspoken ensemble, premiered during a Metropolitan Museum of Art in New York.
In a statement, Jóhannsson’s manager, Tim Husom said, “Today, we mislaid my crony who was one of a many gifted musicians and intelligent people we knew. We came a prolonged proceed together.”
The Gorfaine/Schwartz Agency, that represented Jóhannsson added, “We are deeply saddened by a remarkable detriment of a customer and dear friend Jóhann Jóhannsson, whose good talent, piety and affability enriched a lives immeasurably. His song has desirous many new generations of filmmakers and composers. He will be so severely missed by his Gorfaine/Schwartz family as good as a whole film song community.”
Jóhannsson, who was set to perform during Primavera Sound festival in Barcelona in May, is survived by his parents, sisters and daughter.