Symphony No.96 in D major (1) Joseph Haydn Download 'Symphony No.96 in D major (1)' on iTunes
Discover all the winners of the prestigious Best Original Score category at the Oscars - almost 80 years of fantastic movie soundtracks!
1935: This musical is set in the world of opera singers and, with its rip-roaring score, managed to beat competition from the great movie composer Max Steiner's The Lost Patrol. Like the rest of the soundtracks in the list, the Academy Award is given for films released in the previous year.
1936: Max Steiner was beaten to the Oscar in the previous year, but he he made sure with The Informer. Interestingly, he also managed to beat competition from the legendary Erich Korngold, since then revered as one of the founding fathers of movie soundtracks.
1937: He's currently enjoying something of a renaissance thanks to Nicola Benedetti's evangelisation of his violin concerto, but Erich Korngold got his first Oscar back in 1937 for this fabulous score.
1938: This is a strange one - there's no official composer credit for this Oscar-winner. Charles Previn (pictured conducting in a different movie entirely), head of the Universal Studio Music Department, is who received the award, but even in a film that stars the great Leopold Stokowski as himself. The soundtrack itself also features a lot of existing classical music (Tchaikovsky, Mozart) etc, recorded by Stokowski.
1939: A second Oscar for Korngold, and a typically ripping score for the swashbuckling Errol Flynn movie.
1940: Herbert Stothart's score for the classic musical beat the likes of Max Steiner, Alfred Newman, Dmitri Tiomkin and a young buck by the name of Aaron Copland.
1941: You'd expect the films of Walt Disney to have a glittering record in the soundtrack category, but this was the first time a Disney film bagged one for the music, and it would be quite some time before they got another...
1942: The great Bernard Herrmann picked up his first ever Oscar with this score for this early fantasy film, which included several interesting takes on traditional folk tunes.
1943: Max Steiner returned to the Oscar podium to collect the award for Best Music for this golden classic.
1944: Alfred Newman beat stiff competition from Max Steiner (again) and Aaron Copland (again) to swipe the Oscar in 1944.
1945: This drama about the American home front in WWII meant a third trip up to the podium for Max Steiner, thanks to his blend of adventure and wistfulness in the score.
1946: A winner back when the category was known as 'Music (Score of a Dramatic Picture or Comedy), Rósza's score for beat tens of rivals - including two other scores written by Rósza himself.
1947: A cracking win for Hugo Friedhofer - he managed to pip Bernard Herrmann and Miklós Rósza to the Oscar in 1947.
1948: The Oscar merry-go-round continued, with Miklós Rósza taking his second gong ahead of some familiar faces - Friedhofer, Newman and Steiner.
1949: The Red Shoes saw an Oscar newcomer take the gong at his first attempt - Brian Easdale's score to The Red Shoes was also the first time a British composer had won the award.
1950: After several nominations in the 30s and 40s, Aaron Copland finally managed to win the Best Soundtrack Oscar just before the second half of the 20th century.
1951: Franz Waxman was famous for his scores for horror pictures like Bride of Frankenstein, but with this nail-biting film-noir soundtrack he got the pinnacle award in the world of film composition.
1952: Waxman made it two in a row in 1952 with the score to this George Stevens-directed drama.
1953: After several nominations, Dmitri Tiomkin finally got his hands on a soundtrack Oscar with the score to this classic western.
1954: Polish composer Bronislau Kaper was the first Pole to ever win the Oscar for best soundtrack, thanks to his work on Lili, which featured Zsa Zsa Gabor.
1955: This action-packed disaster movie has a busy score from Oscars regular Dmitri Tiomkin (picking up his second), and starred none other than John Wayne in the lead role.
1956: Another nominations stalwart, Alfred Newman finally got his hand on an Oscar in 1956. His son, Thomas Newman, has currently been nominated 10 times for the same award - can he do it this year?
1957: The first-ever posthumous award in this category went to the great Victor Young, veteran of several Broadway musicals. It beat the soundtracks to James Dean classic Giant, and The Rainmaker, scored by Alex North.
1958: The legendary Malcolm Arnold's signature angular motifs are deftly inserted into his score for this Alec Guinness classic, which earned him the Oscar in 1958.
1959: This adaptation of an Ernest Hemingway novel earned Spencer Tracy a Best Actor nomination, but Dmitri Tiomkin went one better and got the Oscar for Best Original Score.
1960: This was Rósza's third and final Oscar for Best Original Score, and it shows - it's endured throughout movie soundtrack history as one of the most exciting and involving scores on record.
1961: Kicking off the '60s with this war epic soundtrack, Ernest Gold bagged his first Oscar. The film itself was a controversial affair for several reasons, not least for its portrayal of the Arab-Israeli conflicts from 1947, and starred Paul Newman.
1962: With its superb score of lush, jazzy songs and more, Henry Mancini took his first Oscar with Breakfast At Tiffany's - he also beat the scores to El Cid and The Guns Of Navarone.
1963: Maurice Jarre's hugely popular theme beat the likes of Elmer Bernstein and Jerry Goldsmith to the Oscar in '63, and it's remained a favourite ever since.
1964: Surrey-born composer John Addison became a bona-fide Oscar-winner with his score for the romping period comedy Tom Jones. Starring Albert Finney in the title role, Addison makes sure that the humour of the movie comes through in the score.
1965: For sheer toe-tapping tunes, it's difficult to beat Mary Poppins. Very difficult indeed, it would seem - even Henry Mancini's score for The Pink Panther couldn't stop it taking the Oscar.
1966: Jarre strikes again with another colossal-sounding epic soundtrack that matches the scope of its source material.
1967: The legendary John Barry picked up his first Oscar with this gorgeous score that accompanied James Hill's Kenya-set drama about an orphaned lion cub.
1968: He found movie soundtrack immortality when he composed the score for The Great Escape, but Elmer Bernstein's work on Thoroughly Modern Millie won him his first Oscar, beating the likes of Lalo Schifrin and Quincy Jones.
1969: Two years after winning his first Oscar, John Barry triumphed again with another lion-related score, this time for the Peter O'Toole (pictured) and Katherine Hepburn drama The Lion In Winter.
1970: In a year that saw John Williams get his first nod for the Original Soundtrack gong (he'd previously been nominated in the Best Score Adaptation category), songwriting legend Burt Bacharach's score for this classic western was strong enough to triumph.
1971: Kicking off the '70s in schmaltzy style, Francis Lai's score to the wildly successful romantic movie Love Story. Lai beat competition from some of the Oscar usuals - Henry Mancini, Alfred Newman and Jerry Goldsmith.
1972: Michel Legrand (pictured) got his first Oscar with his wistful score to this coming-of-age drama.
1973: This posthumous Oscar was awarded to this Chaplin film from 1952, but subsequently fell out of circulation because of Charlie Chaplin being refused re-entry to the US when the film was originally touring. It received screenings in Los Angeles in 1972, making it eligible for the Oscars.
1974: The late, great Marvin Hamlisch cemented his legendary film composing status with this fantastic score that won an Oscar against stiff competition from John Williams (by this point becoming an Oscars regular). Hamlisch also bagged the Oscar for Original Song Score and Adaptation, thanks to his work on The Sting in the same year.
1975: Nino Rota was originally nominated for the Original Dramatic Score Oscar for the first Godfather movie in 1972, until it emerged that Rota had used portions of another earlier score. So he made double sure when the second film came around, heading off Jerry Goldsmith's score for Chinatown and John Williams' music for The Towering Inferno.
1976: Finally, after several nominations, John Williams got his first Oscar for the classic Spielberg thriller Jaws. Here he is signing a Jaws poster when Classic FM interviewed him last year.
1977: Horror classic The Omen has its share of iconic scenes (pane of glass decapitation, anyone?) but it wouldn't have worked half as well if it wasn't for Jerry Goldsmith's haunting choral score.
1978: If anyone was in any doubt about whether John Williams had truly arrived on the movie soundtrack scene, Star Wars sealed the deal. Simply one of the most iconic soundtracks ever written, it became a blueprint for all the heroic film scores that followed.
1979: In a year that saw the reigning champ John Williams return with another rousing score for Superman, Giorgio Moroder's electronic score to Midnight Express was a surprise winner.
1980: Georges Delerue picked up his first and only Oscar for Original Score with his score for this light-hearted romance.
1981: Michael Gore's music for the global hit Fame was a sensation, and so it proved when he was given the soundtrack Oscar, beating the likes of veteran John Williams with The Empire Strikes Back and more left-field fare like Altered States by John Corigliano.
1982: Recently the subject of a Mr. Bean-related revival, Vangelis score for athletics drama Chariots Of Fire marked another significant change in the fortunes of electronic music at the Oscars.
1983: Just proving that a traditional symphonic score with soaring melodies could do just as well as an electronic soundtrack, John Williams picked up another Oscar for ET.
1984: Bill Conti (pictured) regularly appears as the conductor at the Oscar ceremony itself, so this was a doubly special Oscar win for him.
1985: Here's Maurice Jarre collecting the third Oscar of his career, thanks to the sumptuous score for David Lean's drama.
1986: Another John Barry triumph, and another British soundtrack Oscar (despite the movie's reliance on Mozart's Clarinet Concerto). Barry beat the previous year's winner, Maurice Jarre, whose soundtrack for Witness couldn't quite pip him to the post.
1987: Round Midnight was another stylistic landmark for the Best Original Score Oscar, being an especially jazzy affair. Jazz-based scores had been nominated before (Bernard Herrmann's Taxi Driver, for instance), but this was a notable non-symphonic win for Herbie Hancock.
1988: Bernardo Bertolucci (pictured) enlisted Ryuichi Sakamoto to compose the incidental music for The Last Emperor, and also managed to get Talking Heads frontman David Byrne and Cong Su to contribute songs too. Another interesting non-traditional choice for the Academy, but when would the symphonists get another look-in?
1989: Directed by the great Robert Redford, this is perhaps one of the more forgotten Best Original Score winners - particularly when you consider who Dave Grusin was up against. He managed to beat John Williams (The Accidental Tourist), George Fenton (Dangerous Liaisons), Maurice Jarre (Gorillas In The Mist) and Hans Zimmer (Rain Man).
1990: Disney are back! Not since Pinnochio back in the '40s had a Disney animation won in the Best Original Score category, so newcomer Alan Menken's first Oscar was a bit of a coup.
1991: It's a fourth for John Barry! Dances With Wolves was the Bond composer's third Oscar for Best Original Score, fourth overall when added to the Best Original Song Oscar he won for Born Free. John Williams was nominated again, but couldn't quite manage another - which means Barry was, for a time, even with Williams.
1992: Alan Menken grabbed a second Oscar with his score to Beauty and the Beast, at the time one of the films that reignited interest in Disney animations.
1993: Menken made it an Oscar hat-trick with Aladdin, the following year to his triumph with Beauty and the Beast. It ushered in a hey-day of Disney animations and, notably, fantastic songs and scores.
1994: John Williams bagged his fifth and most recent Oscar with his haunting violin theme to Steven Spielberg's holocaust drama Schindler's List
1995: A first-time Oscar-winner, Hans Zimmer's score for The Lion King was the fourth Disney film to win the Best Original Score award in five years - a remarkable dominance in the category.
1996: Disney's reign had to end, and Luis Bacalov's Il Postino was the soundtrack to end it with an Oscar for Dramatic Score (the Musical or Comedy Score was won by Alan Menken again, for Pocahontas - so it wasn't all bad news for Disney). Remarkably, James Horner was nominated twice in the same category for his work on Apollo 13 and Braveheart, but it wasn't enough to topple Bacalov.
1997: The English Patient rejuvenated interest in the British film industry, and Gabriel Yared's score managed to bag the Oscar for Dramatic Score - Rachel Portman's score for Emma won in the Musical or Comedy category.
1998: James Horner got his first ever Oscar with the multi-award-winning epic that was Titanic, which won a massive 11 awards. That's not to detract from Horner's achievement - he was up against John Williams, Danny Elfman, Philip Glass and Jerry Goldsmith. Meanwhile, in the Musical or Comedy category, Anne Dudley's music for The Full Monty took an Oscar back to Britain.
1999: The Italian movie Life Is Beautiful was a surprise success story at the Oscars in 1999, but Nicola Piovani's score also managed to fend off competition from John Williams (again... this is getting silly now...) and Hans Zimmer.
2000: Not content with winning an Oscar for the soundtrack to the Samuel L. Jackson drama The Red Violin, John Corigliano took portions of the score and turned them into his violin concerto. How's that for resourceful?
2001: Kicking off the millennium with a martial arts epic, the music from Crouching Tiger, Hidden Dragon is a great mesh of western symphonic and traditional eastern sounds.
2002: The tradition of grand fantasy trilogies in cinema returned with a vengeance in 2002 with the first Lord of the Rings movie. Just as iconic as the visuals and the story was Howard Shore's soaring score, which beat a double nomination for John Williams.
2003: Salma Hayek (pictured) starred as artist Frida Kahlo in this 2002 biopic, but it was composer Eliot Goldenthal who brought home the Oscar for his soundtrack.
2004: Well, two out of three ain't bad... Howard Shore's Oscar for Original Score was just one of 11 Oscars that Return Of The King picked up in 2004, and his second after three scores for the series.
2005: An Oscar newcomer, Jan A. P. Kaczmarek's score for this Johnny Depp and Kate Winslet fantasy drama about JM Barrie was strong enough to fend off both John Williams and Thomas Newman.
2006: Ang Lee's drama about the relationship between two cowboys was much admired in 2006, not least for its haunting soundtrack by Gustavo Santaolalla - it was his first, and saw him head off two rival nominations from John Williams.
2007: Gustavo Santaolalla strikes again, making it two years in a row winning the Oscar for Best Original Music - this time for the multi-layered Brad Pitt drama Babel.
2008: Marianelli's music for the film version of Ian McEwan's novel Atonement won plaudits from all quarters in a rare John Williams-free year.
2009: Another Oscars first - a Bollywood-influenced score taking the gong for Best Original Music. Danny Boyle's Slumdog Millionaire was a huge awards hit.
2010: Disney returned to the Oscar soundtracks category with Giacchino's charming score to the animated classic Up, which managed to beat Hans Zimmer, James Horner and Alexandre Desplat to the prize.
2011: A largely electronic score suited the social media drama The Social Network perfectly, and the Academy acknowledged it as such in a strong year for the category, featuring Hans Zimmer's music for Inception and Alexandre Desplat's for The King's Speech.
2012: In a film where sound (or lack of) was one of the most important elements, the music has to be exceptional. Fortunately, Ludovic Bource's characterful work was exactly that, and beat yet another double John Williams nomination. Will 2013 be the year for him?
2013: Canadian composer Mychael Danna beat a strong field to win his first ever soundtrack Oscar with his Indian-influenced score for Ang Lee's Life Of Pi. Also nominated were John Williams (surely his time will come again soon?), Thomas Newman, Alexandre Desplat and Dario Marianelli.
Composer Steven Price accepts the Best Achievement in Music Written for Motion Pictures, Original Score award for 'Gravity' on stage during the Oscars