David P. Crews writes:

“I’ve been surrounded by wonderful music all of my life. I’ve been a long-time radio host for classical music stations, and a composer of my own music in genres like deep electronic ambient and gentler orchestral ambient and lyrical works. I’ve composed orchestral soundtracks for my own films, some of which have won commendations like the Calypso Award from the Moondance International Film Festival.

“In the last decade or two, I’ve been working in the newer worlds of digital work stations and samples, specifically with what is now referred to as “virtual orchestra” music production. This amazing technology provides composers with sampled instruments–actual separate performances of every single note and articulation of each instrument in a symphonic orchestra. These notes are recorded separately and provided to a keyboard for the composer to perform and record an original composition into a digital workstation and then play it back in ensemble with all of the other instruments.

“This becomes a way to “play” an orchestra and, more importantly, to more easily and directly compose for one. It does not replace having a live orchestra, but the tech has improved so much that the results are quite convincing when carefully performed and programmed for a realistic sound. This is not easy, and I liken it to herding cats, but it is incredibly joyful and fulfilling to hear the results!

“For direct scoring to film, this is a wonderful tool and technique that allows me to create a level of music for my films that would otherwise involve many other people and unrealistic financing to accomplish.

“In all of its aspects, my film, A Circle in the Desert, has been the largest and longest creative project I’ve ever undertaken. This especially includes the music score, which is 85 minutes of full orchestra in a romantic, lyrical style that supports my narrative in the film at all times. This music becomes a crucial secondary “character” in the film, acting as an “emotional camera” to work synergistically with the visual ones.

“For this score, I compose and perform with the BBC Symphony Orchestra in the Pro form from Spitfire Audio in London. These instruments were performed for the samples by the various members of the famed BBCSO and were recorded in London's venerable Maida Vale studios, AIR Lyndhurst Studios, and world famous Abbey Road Studio One. I also employ Spitfire’s samples from the Eric Whitacre Choir for vocals, and the Joshua Bell Solo Violin (playing his 1713 Stradivarius) from Embertone, along with the Steinway-B piano from Pianoteq.

“This film would simply not be viable or even possible without this crucial music. I have had the most joyful creative experience of my life in composing and finishing the music score for A Circle in the Desert!”