worldwide. Creation Film scores The Canadian composer and conductor Howard Shore composed, orchestrated, conducted and produced the film trilogy's music. The filmmakers had considered the American composer James Horner and the Polish composer Wojciech Kilar for the role. Shore visited the set in 1999, and composed a version of the Shire theme and Frodo's Theme before Jackson began shooting. In August 2000 he visited the set again, and watched the assembly cuts of The Fellowship of the Ring and The Return of the King. In the music, Shore included over 50 leitmotifs to represent the different characters, cultures and places—the largest catalogue of leitmotifs in the history of cinema. There are for instance multiple leitmotifs just for the hobbits and the Shire. Although part of the score for the first film was recorded in Wellington, New Zealand, virtually all of the trilogy's score was recorded in Watford Town Hall and mixed at Abbey Road Studios in London. Jackson planned to advise the score for six weeks each year in London, though for The Two Towers he stayed for twelve. Shore composed a main theme for the Fellowship rather than many different character themes, and the Fellowship's highs and lows are depicted during the series. On top of that, individual themes were composed to represent different cultures. The score is primarily played by the London Philharmonic Orchestra, ranging from 93 to 120 players throughout the recording. There are contributions by London Voices, the London Oratory School Schola boy choir, and artists such as Ben Del Maestro, Sheila Chandra, Enya, Renée Fleming, James Galway, Annie Lennox and Emilíana Torrini contributed. The actors Billy Boyd, Viggo Mortensen, Liv Tyler, Miranda Otto (extended cuts only for the latter two) and Peter Jackson (for a single gong sound in the second film). Fran Walsh and Philippa Boyens wrote the libretto; David Salo translated it into Tolkien's constructed languages. The third film's end song, "Into the West", was a tribute to a young filmmaker Jackson and Walsh befriended named Cameron Duncan, who died of cancer in 2003. In keeping with his operatic vision, Shore used the three scripts and the book itself to write themes even before having film reels to compose to. As a result, Shore spent nearly four years on the composition, compared to the 6–8 weeks per film, and a week or two of recording, typical for film composers. For the recording process,