 |
 |  |  | | | | Track Listings | |  | 1. Piano Concerto | 22:11 | | Rasgos (Sketches) | | | Part I | | | 2. Ráfaga (Wind Gust) | 1:06 | | 3. Nocturno esquemático (Nocturne in Outline) | 1:15 | | 4. Historietas del viento (Vignettes of the Wind) | 0:25 | | 5. Despedida (Saying Goodbye) | 1:18 | | 6. Las seis (Six o'clock in the Afternoon) | 0:38 | | 7. Madruga (Dawn) | 3:10 | | 8. Baile (Dance) | 1:09 | | Part II | | | 9. Primer nocturno del cuco (Cuckoo's First Nocturne | 1:16 | | 10. Capricho (Capriccio) | 0:39 | | 11. Temblor (Tremor) | 1:06 | | 12. Úlima laguna (Last Laguna) | 0:49 | | 13. Canción bajo lágrimas (Song Under Tears) | 1:09 | | 14. Canción menor (Minor Song) | 1:04 | | 15. Dos muchachos (Two Children) | 0:50 | | 16. Rhapsody for Clarinet and Orchestra | 12:47 | | Ghost Town Sketches | | | 17. I. “October 31st 1888. Midnight.” | 1:51 | | 18. II. “February 14th 1888. Afternoon.” | 1:32 | | 19. III. “July 4th 1889. Noon.” | 1:51 | | 20. IV. “March 21st 1852. Daybreak.” | 2:11 | | 21. V. “November 25th 1889. Sundown.” | 2:33 | | 22. VI. “December 24th 1892. 5:38 PM.” | 2:59 | | Total time: | 64:17 |
| | | | | |
| | | | | | Music of John Carbon | | | Our Price: $9.95  | | | | Item Number: MMC2120 | | Audio Format: HDCD | | Genres: Classical\Featured Composer | | | | Description | | Excerpts from the Liner Notes (by John Carbon)
Piano Concerto
The Piano Concerto, for piano and large orchestra, was written especially for William Koseluk and the Czech Radio Orchestra as part of their historic first American tour in 1998. Mr. Koseluk writes the following about the concerto:
With an intensity and gestural language in the tradition of the Brahms D minor, the Liszt E-flat major and other notable works in the same genre, John Carbon’s Piano Concerto makes an effective new mark in a medium too long overburdened with the ‘piano-as-noise.’ Indeed, this new work recognizes the piano as melodic and seeks to exploit this instrument in a manner that shows its many riches and colors. This is not to suggest that the work is a throwback to sentiment or a mere example of neo-romanticism. Rather, it is certainly new, with enough complex formal and harmonic constructs – disjunct in the romantic mold – to escape being seen as a return to a bygone era.
Rasgos (Sketches)
Rasgos (Sketches), for violin and chamber ensemble, was composed in the late summer and fall of 1992 at the request of Brian Norcross who asked that I write a concerto for violinist Claire Chan and the Franklin & Marshall College Chamber Music Society. The idea behind the piece was to employ winds, harp and percussion, with the violin playing a prominent solo part, as in a concerto. Initially, I was stumped by the problems the instrumentation posed because I worried that the violin might be overpowered by the winds, and I couldn’t imagine a satisfying blend of the contrasting timbres.
It was only when I was in Madrid the summer of 1992 and had visited the Prado Museum several times, enjoying the sketches of Goya which were on exhibit, that I found a solution….
Rhapsody
Rhapsody for clarinet and chamber orchestra was composed in 1997 for Doris Hall-Gulati. It is cast in a single, rhapsodic movement tied together by several key motives punctuated by cadenzas by the soloist. The work alternates among four basic tempi and moods and represents a journey in which the soloist is “transformed” by the time the opening mood returns at the end of the piece.
Ghost Town Sketches
Ghost Town Sketches was composed in 1993 at the request of English hornist Tamara Field, and was premiered in Boston in 1994. The following quote by Edward Abbey from The Brave Cowboy served as inspiration: (reprinted in CD booklet)
I have incorporated some cowboy songs taken from the collection by Alan Lomax to help create a ghostly western mood.
I was able to visit several ghost towns as a child, and some of the less commercial ones made quite an impression on me. Each movement is intended to capture the haunted memories of a particular date and time (around a holiday, or in the case of III, an equinox) in a different ghost town. |
| | | |
|
