This article is intended for Academy of Motion Picture Arts and Sciences members as well as all enthusiasts of film music. As a long-time fan of the Academy Awards, I'm proud to recommend the five composers below whose work has been excellent during 2013.

PINO DONAGGIO (PASSION)

The first thought that comes to mind when hearing Donaggio's score for Passion is mischief. Every note underlines something tender, thoughtful or romantic about Isabelle (Noomi Rapace). Her desire for revenge becomes a pathway through the heart of darkness, and the composer uses the Czech National Symphony Orchestra to accentuate this emotional longing.
　
ALEX HEFFES (MANDELA: LONG WALK TO FREEDOM)

Heffes instils a natural, rhythmic heartbeat into this epic adaptation of Nelson Mandela's beloved autobiography. Underneath the percussion, there are swelling themes representing the innate dignity of the former South African president. Sentimentality takes a back seat to genuinely heartfelt melodies, which are strong in backbone and thematic development. In particular, the cue for Nelson and Winnie might just be the finest orchestral master stroke of 2013.
 
ABEL KORZENIOWSKI (ROMEO & JULIET)

In Romeo and Juliet, we hear a beautiful accompaniment to Shakespeare's timeless tale of true love. Very few composers are writing the type of lyrical, grand, understated and purely harmonious compositions which define Korzeniowski's style. 
 
TREVOR MORRIS (OLYMPUS HAS FALLEN)

Morris transforms the content of Olympus Has Fallen into an action spectacle with a big heart. Kudos to him for keeping a tight leash on nagging, synthesizer elements which tend to plague the average blockbuster. Throughout this score, there's a real sense of urgency behind every significant movement. We should feel proud to have music which flies in the face of bombast, while painting a more intimate landscape based on real world concerns. 
 
JOHN OTTMAN (JACK THE GIANT SLAYER)

What a powerhouse! Just witness Roderick's moment of triumph, all set to the evocative sound perfected by filmmaker John Ottman. In 'Power of the Crown,' an isolated scene reaches a deeply felt crescendo which feels eternally satisfying. Ottman's composing arises from a clear understanding of the story. In addition to his musical contribution, he's an accomplished picture editor. Throughout Jack the Giant Slayer, visual effects may take center stage, yet the music steals the show in glorious fashion.