Music for Ballet Class: Discography

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TRACK LIST

TRACK 1: Four Ambiguous Options
Commissioned by Theatre Ballet of Spokane
Margaret Goodner, Artistic Director
Premiered February 28, 1993
At the Met
Cheryl Carney, Cello
Don Caron, Piano
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i. Be Skilled in the Art of Light and Shadow.
(luminarism)
“Everyone has a dark side which he never shows to anybody.” Mark Twain
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ii Move Lightly Over the Surface.
(lambency)
“When you come to a fork in the road, take it.” Yogi Berra
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iii Construct a Protective Crust.
(lorication)
Corporations have no souls, but they can love each other.
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iv Turn to Stone
(lapidification)
“Too long a sacrifice can make a stone of the heart.” William Butler Yeats
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TRACK 2: The Endless Echo of Anomaly
Commissioned by Zephyr through a grant from Artist’s Trust
Kendall Feeney, Artistic Director
Premiered April 5, 1994 at the Met
James Schoepflin, Clarinet
Cheryl Carney, Cello
Paul Raymond, Percussion
Kendall Feeney, Piano
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TRACK 3: Concerto for Piano and Orchestra
Dedicated to Margaret Saunders Ott
Commissioned by the Washington State Music Teachers Association
2002
Composer of the Year Award
Premiered March 15, 2003
Spokane Youth Orchestra
Verne Windham, Conductor
Gretta Beggs, piano
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TRACK 4: Serenade Adage
Dedicated to Helen Sandifur
Commissioned by C. Paul Sandifur
There was no story to Caron’s synthesized score to “Serenade Adase.” Instead it slowly unfolds much like Sanuel Barber’s Adagio for Strings with some of the nostalgic melancholy of Tchaikovksy’s serenades.

Travis Rivers, correspondent
Spokesman Review
Review of The Met Sixth Anniversary Celebration
October 1, 1994
January 26, 1996 at the Spokane Opera House

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TRACKS 5-9
Five outtakes from The Basket Soundtrack

5. Reflections of Light
Orchestra
This was the original opening credits music, composed during the scriptwriting process. At that time the opening scene of the movie was in a large building with light streaming in the windows.
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6. Ben's Arrival
Orchestra
While the scene of Ben arriving home on the train remained in the movie the music didn't contribute to the feel fo the scene so it was dropped.
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7. Duchess' Lament
Soprano and Orchestra
Three different pieces of music were written for this funeral scene. This was the first, and it was used on the set during the shooting of the scene. The final edit of the movie required a larger, less introspective score.
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8. Helmut's Contemplation
Orchestra
The rewrite of this cue was the only issue that the composer and the director disagreed on.
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9. Brigitta's Theme
Orchestra and Soprano
Tamara Schupman, soprano
In the pre-edit design of the score, each major character had a different musical theme. With the opera themes it proved to be an excessive amount of material. So this cue was replaced with the main title music.