EPISODE · Sep 19, 2021 · 40 MIN
The Sunday Read: ‘The Composer at the Frontier of Movie Music’
from The Daily · host The New York Times
You have almost certainly heard Nicholas Britell’s music, even if you don’t know his name. More than any other contemporary composer, he appears to have the whole of music history at his command, shifting easily between vocabularies, often in the same film.His most arresting scores tend to fuse both ends of his musical education. “Succession” is 18th-century court music married to heart-pounding beats; “Moonlight” chops and screws a classical piano-and-violin duet as if it’s a Three 6 Mafia track.Britell’s C.V. reads like the setup for a comedy flick: a Harvard-educated, world-class pianist who studied psychology and once played in a moderately successful hip-hop band, who wound up managing portfolios on Wall Street.That is until he started scoring movies, and quickly acquired Academy Award nominations.“What I’ve found in the past,” said Jon Burlingame, a film-music historian, “is that people have found it impossible to incorporate such modern musical forms as hip-hop into dramatic underscore for films. When Nick did it in ‘Moonlight,’ I was frankly stunned. I didn’t think it was possible.”This story was written by Jamie Fisher and recorded by Audm. To hear more audio stories from publications like The New York Times, download Audm for iPhone or Android. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
What this episode covers
You have almost certainly heard Nicholas Britell’s music, even if you don’t know his name. More than any other contemporary composer, he appears to have the whole of music history at his command, shifting easily between vocabularies, often in the same film. His most arresting scores tend to fuse both ends of his musical education. “Succession” is 18th-century court music married to heart-pounding beats; “Moonlight” chops and screws a classical piano-and-violin duet as if it’s a Three 6 Mafia track. Britell’s C.V. reads like the setup for a comedy flick: a Harvard-educated, world-class pianist who studied psychology and once played in a moderately successful hip-hop band, who wound up managing portfolios on Wall Street. That is until he started scoring movies, and quickly acquired Academy Award nominations. “What I’ve found in the past,” said Jon Burlingame, a film-music historian, “is that people have found it impossible to incorporate such modern musical forms as hip-hop into dramatic underscore for films. When Nick did it in ‘Moonlight,’ I was frankly stunned. I didn’t think it was possible.”
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The Sunday Read: ‘The Composer at the Frontier of Movie Music’
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