“Jonny Greenwood had long since achieved global fame, as the lead guitarist of Radiohead, when he ventured into scoring films nearly 20 years ago,” writes Seth Colter Walls in Wednesday’s (1/12) New York Times. “To some, this seemed [like] something to keep Greenwood occupied between albums and tours. But over the last decade in particular, it’s become clear that is not the case. With 11 scores to his name, including two—for Jane Campion’s ‘The Power of the Dog’ and Pablo Larraín’s ‘Spencer’—that may figure in this year’s Academy Awards race, what was once a subsidiary career now vies for pre-eminence with Greenwood’s day job. As he has moved further into film, he has also achieved some prominence as an orchestral composer, with his concert music often fueling his soundtracks…. But if some of his inspirations have remained constant—with modernist composers like Olivier Messiaen and Krzysztof Penderecki remaining steady fascinations—he has also evolved over time.” The article discusses “highlights from his past two decades of writing for orchestras and films,” including There Will Be Blood (2007), from which “the Copenhagen Philharmonic later recorded a string orchestra suite,” and more recent orchestral film scores.