John Carbon

Cadenza Ingannata

twelve erotic pieces for pianoafter titles by Rip Cohen

2

Born in Chicago in 1951, John Carbon studied composition at Rice University and at the University of California at Santa Barbara, where his teachers were Thea Musgrave, Paul Cooper, and Peter Racine Fricker. He is nowProfessor of Music at Franklin and Marshall College in Lancaster, Pennsylvania. Carbon's music--which has been gaining prominence in the past few years due to an increasing number of high-profile performances and recordings--includes two operas, Marie Laveau and Benjamin, along with many choral, orchestral, vocal, and chamber works. Carbon has a special flair for the virtuosity and drama needed for concertos, and has completed works in this genre for clarinet, violin, piano, and most recently double bass.

Mr. Carbon's work has been performed in New York at Merkin Concert Hall, Carnegie Hall and Avery Fisher and Alice Tully Halls at Lincoln Center, Boston's Symphony Hall, and Prague's Smetana Hall. Premieres of Carbon works have been presented by the New York Chamber Symphony, the Czech Radio Orchestra, and the Alaria Chamber Ensemble of New York. His Rhapsody for Clarinet and Orchestra (premiered under Gerard Schwarz at Avery Fisher Hall in November of 1997) was hailed by New York Times critic Allen Kozinn for "its demandingly agile clarinet line that wove its way through a variegated orchestral fabric .... rich in coloristic effects of the sort that create a sense of depth rather than artificial glitter." Recordings of Carbon's music include his Violin Concerto, released on Three American Concertos(MMC 2059), performed by Violinist Peter Zazofsky with Gerhardt Zimmermann conducting the Warsaw National Philharmonic Orchestra. Fanfare critic Robert Maxham praised the concerto for the "...finale's dazzling kinetic virtuosity," and in American Record Guide Bill Faucett commented on the concerto's "....many moments of genuine beauty..." Also becoming well known is the Clarinet Concerto, in a spectacular and highly-acclaimed performance with soloist Richard Stoltzman on MMC 2031 with the Warsaw Philharmonic, and Notturno for Trumpet, Harp, and Strings, performed by Gerard Schwarz (with Jeff Silberschlag on trumpet) and the Seattle Symphony on Delos. (New Yorkers had a chance to hear Notturno live when it was performed by George Manahan leading the New York Chamber Symphony in Alice Tully Hall at Lincoln Center in April, 1999). Other recordings includetwo orchestral works--Hommage à Trois, played by the Slovak Radio Symphony under Szymon Kawalla on Vienna Modern Masters 3011, and Inner Voices on MMC 2003 with the Warsaw Philharmonic under Robert Black--and a chamber work for flute and guitar, Paseos, on CGS 1024223.

Performances have included several premieres by Ensemble Giverny, with members of the Portland Symphony Orchestra, at the Portland Art Museum, as part of the release of a widely broadcast compact disc recording released by Moonbridge Recordings, Waterlilies; Musical Visions of Monet, in conjunction with the opening of the museum's exhibit centering on the late paintings of Monet. The much-acclaimed chamber music group Alaria, with guest clarinetist Doris Hall-Gulati, performed Dreamspiral by Mr. Carbon in Weill Recital Hall at Carnegie Hall in 1999 as part of their chamber music series. Premieres have included those by the Philadelphia Trio in Weiss Center for the Performing Arts at Bucknell University of Do Not Go Gentle and a new chamber music setting of arias from the composer's opera Benjamin in Merkin Concert Hall, New York City. Most recently, performances have included those by the Philadelphia-based Network for New Music, Trio Fedele, cellist Stephen Balderston, pianist Edith Orloff, and an appointment as American composer in residence at the 2nd Annual Santa Barbara Chamber Music Festival in June, 2004.

In July, 2002, MMC Recordings released John Carbon,a recording of the composer's Piano Concerto, Rasgos, Rhapsody for Clarinet and Chamber Orchestra and Ghost Town Sketches, with conductors Vladmír Valék, Maron Alsop, Gerard Schwarz and David Stock conducting the Czech Radio Orchestra, Concordia Orchestra of New York City, the New York Chamber Symphony, and the Pittsburgh New Music Ensemble, with soloists pianist William Koseluk, violinist Claire Chan, clarinetist Doris Hall-Gulati, and members of the Pittsburgh New Music Ensemble. In 2005-2006 recording releases included Rasgos, for violin, harp and winds, performed by Claire Chan with Concordia Orchestra, conducted by Maron Alsop and the premiere recording of Endangered Species, a new doublebass concerto commissioned by bassist Richard Fredrickson for an MMC release. This work was recorded by the Slovak Radio Orchestra in Bratislava, Slovakia, in November, 2002. Performances in 2006 included a fully staged production of Benjamin, the composer's comic opera with libretto by Sarah White at Franklin & Marshall College as part of the National 300th Celebration. A live-performance version of this performance will be released by Zimbel Recordings in October, 2007.

Meditative; calmq=72

Cadenza Ingannata

© 2006 JCcollections

I. Dreams of Azure

Twelve Pieces for piano soloafter titles by Rip Cohen

(1978)

for William Koseluk

John Carbon

Piano

p

mp

p

(Ped. liberamente)

mp

5

Pno.

pp

mp

3mf

tranquil...

p

3

3

3

3

10

Pno.

mp

mf

3(sempre bell-like)

5

3 3

5

14

Pno.

mp

p

5

35

17

poco rit.

Pno.

pp

3

pp

ppp

5

mp p

5 5

4

Impulsive, yet decisivee=126

II. Jagged Splendor

Piano

3

3

f

ff

3

3

4

Pno.

7

Pno.

p

3 3 3 3

ppp

pp

3

33

3

13

Pno.

f

ff

mf

16

Pno.

mf

mp

pp

ppp

3

3

3

3

5

22

Pno.

mf

p

3 3

3 3 3

ff

3 3

3 3 3

27

Pno.

pp

ppp

mp

3

3

3 3

31

Pno.

ff

3

3

3

3

3 3 3 3

33

Pno.

fff

3 3

3 33 3

3 3

3 3

3 3

35

Pno.

3 3 3

3 3

3

6

41

Pno.

3

3 3 33

3

42

Pno.

33

3

3 3 3

43

Pno.

3

33

3 3

3

44

Pno.

3

3 3 3 3

3

47

Pno.

49

Pno.

7

e=112

Danceable; joyousIII. The Rhythm of Your Pride

Piano

mp

mf

4

Pno.

f

p

mp

7

Pno.

mf

p

mf

f

sffz

3 3

mp

3 3

10

Pno.

ff

fff ffff

ff

12

Pno.

mf

f

mp

8

14

Pno.

p

16

molto rit.

Pno.

ppp

pp

pppp

sffz

9

Drunken rubatoq=138 IV. Melting in the Lilt

poco rit. A tempo

Piano sempre legato

mp

mp

(ped. liberamente)

mf

2 poco rit. A tempo

Pno.

mf

pp

mp

9 poco rit. A tempo

Pno.

mf

pp

15

rit.

Pno.

mf

pp

mp

Playfullyq=50

V. The Raving Blossomof the Cresting Flame

Piano

p

sf

5

55 5

sf

sf sf sf sf

5 5

10

3

Pno.

5 5 5 5 5

5 5 5 5 5 5

5

Pno.

sf

sf

5 5 5 5 5

sf

sf

5 5 5

5

7

Pno.

5

sf

5 5

8

Pno.

5sf sf sf

5 5

9

Pno.

sf

5

5

5

5 5

5 5 5

11

11

Pno. sf

sf

sf

5 5 5

12

Pno.

sf sf

5

5 5 5

sf

5 5

5 5 5

14

Pno.

p

mf

ff

5 5 5

5

5

5 5 5 5 5 5

16

Pno.

mf

5 5 5 5 5 5

5 5 5 5 5 5

18

Pno.

p

sf p

sf

sf

sf

5

5

5

5 5

5 5 5 5 5

12

20

Pno.

sf

sf

sf

sf

p

5 5 5 5 5 5

5 5 5 5 5 5

22

Pno.

pp

5 5 5 5 5 5

5 5 5 5 5 5

24

Pno.

ppp

5

pppp

5

13

Warm; richq=108 VI. Straining Thighs

Piano

mf

mp

3

3

3 3

8

Pno.

legato; singing

(ped. ad lib.)

mf

3

16

Pno.

(sempre bell-like)

sf

mp sf

sf

mp

3

pp

ringing...

f

3

3

24

Pno.

3 mp

3

3

332

Pno.

p

3

337 poco rit.

Pno.

14

Demonicallyq=72 VII. To Jet With Full Fury

Piano

ped. ad lib.

ff

12 12 12

2

Pno. 6 6 6 6 6 6

4

Pno.

6

12 12

5

Pno.

12 6 6

6

Pno.

6 6 6 6 6

6 6 6 6 6 6

8

Pno.

6

3

3

63 3

3

10

Pno.

cresc.

3 6

sub. p

3

15

11

Pno.

ff

12

12

12

Pno.

12 12

12

13

Pno.

12

6

14

Pno. 6 6

6

6

66

15

Pno.

6 6 6

6 6 6

16

Pno.

6 6 6

6 6 6

16

17

Pno.

12 12 12

18

Pno.

12 12 12

19

Pno.

12 12 12

20

Pno.

12 12

6

6

17

21

Pno.

6 6 6

6 6 6

22

Pno.

6 6

6 6 12

23

Pno.

12 12

12

24

Pno.

12 12

12

25

Pno.

sfffz

12

sfffz

26

Pno.

sffffz

12

sfffz

18

Mysterious; vaguee=84

VIII. Strewn Petals in the Wine of Morning

Piano

3

3 3

5

p

(molto ped.)

3

Pno.

5

5

q=604

Pno.

ppp

77 6 5 5

5

e=84

Pno.

p

7 5

7

7

Pno.

5

5

19

q=609

e=120

Pno.

7 7

5

ppp

pp

12

Pno.

e=8416

Pno.

p

3 3

3 5

18

Pno.

5

5

q=6019

Pno.

ppp

7 76 5 5

20

20

e=60

Pno.

7 5

p

7

22

molto rit.

Pno.

pp

55

21

Sombre; evocativeq=46 IX. Wreath of Shade

Piano

f

ppp

pppp

pp

3 3

5

pppp

mp

mp

f

mf

4

Pno.

3

pp

ppp

7

6

mf

3

6

Pno.

mp

7

3 3

mp

pp

8poco rit.

Pno.

3 mf

ppp

mf

11

p

ppp

10

Pno.

pppp

mp

ppp

pp

22

12

Pno.

ppp

f

mp

mf

ff

ff

ff

11

3 3

mf

ppp

ppp

14

Pno.

sffz

f

ff

sffz

fff

3

f

17

poco rit.

Pno.

delicatissimo...

ppp

11

p

pp

like a far away wind-chime

23

q=72

X. Do Not Embrace Me

Savagely!e=210

Piano

fff

mf

mp

mf

pp

ff

ff

5

Pno.

8

Pno.

12

Pno.

24

17

Pno.

23

Pno.

28

q=72

Pno.

fff

ppp

p

mf

33

e=208

Pno.

f

ff

both hands sempre 8va

like a far away, wayfaring cosmic ice-cream truck,floating through outer space...

ppp

25

36

Pno.

40

Pno.

44

Pno.

49

Pno.

54

poco rit.

Pno.

26

59

Cold; crystallineq=72

Pno.

pppp

(far away chimes)

L.H. loco

27

Inevitable; weightyq=60 XI. The Triumph of Sorrow

Piano

mp

pp

mp

mf

mp

3

5

3

f

mf

4

Pno.

p

ppp

mp

3ppp

3

3

8

Pno.

mf

f

3

p

mp

mf 3 3

ff

f

3

12

Pno.

pp

mf

3

pp

ppp

mf

p

3

17

Pno.

pp

mp

mf

mp

3

p pp

28

XII. Why Must Your Eyes Be Softer Than the Mist?

As a much remembered dream...q=60

A temporit.

Piano

pppp

intimate; sotto voce

pp

5 q=60

Pno.

3 3

3

10 rit. A tempo

Pno.

3

3

14rit. A tempo

Pno.

18

rit.

Pno.

29

23

A tempo

17'04"

Pno.

pppp

pp

like harp harmonics

ppp

pp pppp

30