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The Team: � |
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���� The
first stage in composing the score for The Basket, involved writing the lyrics
and music for the opera sections. These needed to be completed before the film was shot,
so that scenes could be synchronized with the music more effectively. ���� The opera sections of the soundtrack required the use of a full choir in addition to the vocal soloists. These parts were rehearsed and recorded using electronic simulations of the orchestra, and the actual orchestra recordings were added later. (Examples: Der Fremder, Sanftesten Traumen, Duchess' Lament) ���� The underscore of the soundtrack was written and scored in the six weeks prior to the recording session.� Music was tailored to each scene using a VHS copy of the movie synchronized to a computer music system. (Examples: The Fire, Pledge of Allegiance, Killing the Ball). ���� The completed music was put in orchestral score form and a click track was created for each cue. (there was a total of 67 cues). While recording in Budapest, the conductor listened to the click track to match the correct tempo of each cue. ���� Back in Spokane� the recording of the orchestra was added to the recordings of the singers, and the music was matched back up to the picture. |
Don�
Caron in Bela Bartok's studio in Budapest |
�� Spokane resident Don Caron has been active in the Northwest music scene for over 25 years as a pianist, teacher, composer, conductor, and keyboardist. During the 1970's he founded and directed Composers� Conspiracy, a concert organization devoted to the presentation of music by Northwest composers. He also co-founded and co-directed Art Growers Association, a Washington non-profit corporation devoted to promoting original applications of music and dance in concert and educational settings. The Association distributed jazz and ballet instructional videos with music by Caron, and choreography by Jeffrey Amsden and Elizabeth Carlssohn.
��� In the 1980�s Caron�s focus was on dance and music for dance. He collaborated with Elizabeth Carlssohn on the composition and choreography of two full length ballets for The Spokane Ballet Company (Centerpiece and Five Gifts for Third Child) which premiered in the Spokane Opera House in 1987. He also co-composed the lengthy electronic score for Lady Macbeth, a Christopher Aponte ballet and has composed several ballets for Theatre Ballet of Spokane. He has composed and recorded four albums of music for ballet classes which are published and distributed by Random Touch Records.
��� Caron�s commissions include works for The Spokane Symphony, The Whitworth Community Orchestra, Zephyr, Washington State Artist�s Trust, Washington State Cultural Enrichment Program, Spokane Ballet, Theatre Ballet, and the Spokane Symphony Wind Ensemble. In 1995 he was commissioned by the Spokane Symphony to write a work commemorating their 50th anniversary (Paradigm Shifts).
��� In June of 1995, Caron began employment at North by Northwest as resident composer and sound designer, scoring videos for Hewlett Packard, Novell Corporation, Albertson�s Corporation, Washington Water Power, and Physio Control Corporation and others. Along with his co-worker Jeff Gratz, he designed and installed two audio recording suites for North by Northwest. After completing the installation of the large audio suite now in use at NxNW, Caron returned to freelance work to devote his time to the screenplay and the soundtrack for the feature film The Basket.
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