b orn in c hicago in 1951, john c arbon studied com position at r ice u niversity and at the u...
TRANSCRIPT
John Carbon
Wind Shadows
for soprano, clarinet and piano
Full Score and Bb Clarinet Part
© 2008, John Carbon
Poems used by permission
Wind Shadows was composed in 1991 for soprano Kristin Samuelson. Set to four poems by D. H. Lawrence, the first and last songs are cast for voice, clarinet and piano, the second for voice and piano, and the third for voice and clarinet. The moods of the songs range from droll (The English Are So Nice) to nostalgic (Piano). The title of the cycle comes from a line in the last song (A Baby Running Barefoot), where the setting is fleeting and light.
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 now Professor 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 three operas, Marie Laveau, Benjamin, and Out of this World, 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," andin 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 include two 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 double bass 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 was released by Zimbel Recordings in November, 2007.
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q=72
(poems by
D. H. Lawrence)
1. Mystic Blue
John Carbon (1991)Wind Shadows
1
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253
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38
A tempo333
S.
Cl.
Pno.!
" ,wan
f
&der
&- ing
&3
- o
& & & &ver- - the wa
& & & & ) "ter,
mp
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"mp
& & &mf
& &3 & & & & & & & & ) " &p
"mp
& & & & & & & & & & & &+ && &
& *
& && &
& && & & & &
& *
& && &
& && &
p
& &&& & & & & & & & &
& & & &
336
S.
Cl.
Pno.!
" ,So
p
that she can
mf
stand
& & & & &on
&my
&3
knee
) dim. /
" $mp& & &3 ) /
" * & & & & & & & & & & & &dim.
& " & & & & & & & & &+ &&
&& & & & &
mp& & & &
& & & & & && & & & & & & &
& && 9 * & &
& & & & & &
39
339
S.
Cl.
Pno.!
"p&( % *
pp
With her lit
& & & &tle- bare
& & & & )feet
p
)in
&my
&
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" ) & & & & && "" &&( && &&p
)) && &&
+ pp
& && & & & & & & & & & & & & & & &
& & & & & & & & & & & & & & & && & & & & & & & & & & & & &
342
S.
Cl.
Pno.!
"hands,
) &' %Cool
mf
like
& &Syr
f
ing
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& *Firm
mf& & &and
& &
" & & &( % * $ $
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////cresc.
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&
dim.
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mf&&& & & & & * & & & &
+ && && & & & & & & & & & & & & & & & & & & & & & & & & & & & & & &
&&* & &
& & *
40
345
rit.
S.
Cl.
Pno.!
"silk
& & & &en- -
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p
young
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mp
& & &o
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- flow
/
" $mp& & &
3
&. & &3
/
" * "dim.
& & & & &&& &&&
p
&&& & & & &+ dim.
& && & & & & &
mp
& && & & & & & & &
& & *& & & & & & & & & & &
& *
& && &
& && &
348
16'46"
S.
Cl.
Pno.!
"pp
/ers.
) &' % * $ $
"/
pp/ / /
" ///*
& && &
dim.
& & & & & && & //// ////
%&
+dim.
& & && & & & & mp
:
& & & & & & & & & && & * ,
pp
$ $: ;
41
Bb Clarinet Part
Wind
Shadows
John Carbon
!
q=72
Flowing
(poems by
D. H. Lawrence)
Clarinet in Bb
1. Mystic BlueJohn Carbon (1991)
Wind Shadows
1
"###pno.
$$$$$$ $$$ $$$ $$
$ $$$ $$$ $$$ %mf
$ $&$ $ $ $ $ $ $ $ '
5 poco rit.
"### ' !
( ) ( %mp
$& $ $ $ $ $* $* $* $* $ $ $ $p
$+ ,,
A tempo11
",,mp
$ $ $ $ $ $ $+ $# $ $ $+ $ $ $ $ $ $ $ ' ' 'pp
-
16
",, -mp
%$# . ###$# $+ $ $ $ $ $ $ $ $
$ $ $ $ $ $ $ $
19
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mp$, $, $ $,
p
$ $+ /pno.,,$ $ $, $, $0 $ ####$ $0 $ $
22
"####1
30
!"""" ##$% ##%$ ##$ ## ## ## ## ## ##% ## ##% ## ## ## ## ###$ #$ #% # # # # # # # # # #$ #$ # #%
32
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########
35
!$$mp
#) #) #) #) ' # #* # # # # # # # # + + !
, ,mf
' #* # # # # #) #) #) #)poco rit.41 A tempo
!$$# # # # #$
""""p
#% #$ #$ #$ #$ # #- #- #$ #$ #$ #$ #$ #$ #$ #% # #$ +$ +$
46
!"""" +$ & . &mf
' #- * #- #$ #$ #$ #% #$ #$ #$ #$ # #$ #$ #$ #$ # #% $#$ #
51
!$# # # # # # # # /
# # #$ #$ #% #$$# #$ # #
54
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65
!$$ # # # # # # # # 'mp
#( # # # # # # # # # # # # # #p
# # # # # # # # #- #" # #-
poco rit.68 A tempo
!$$ #- # #" #- # #" """ 'mp
# #(# # # # # # # # + + !
,
Clarinet in Bb2
72 poco rit.
!"""# $ %
p
&' & & & & &( &( &( &( & & & & &)mp
**
A tempo77
!** & & & & & & &) &" & &mf
&) & & & & & & & % &' & & & &mp
& & & $ % &" +
82
!** &) & & &" &" &)mf
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mf
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mp
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&* &
86
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& & & & & & & & & & & & & #
91
rit.
!flame
&
of the sha
& & &dow- we
p
& & & & & &pp
&) & , , **
Clarinet in Bb 3
!"
With gentle nostalgia
q=60(clarinet tacet)
2. Piano
95
#$$ %pno.
&& & &&& &&& % && & && &&&&
&& && && &&' &&' % &&& &&& &&& &&
&&&&&(( &&&
&) &&&
&&&&& &&&&
(( &&&&$$
100
#$$ &&&& &&&
& &&&&
&&&&$$$$ *+
&&&&((( &&&
& &&()&&( &&) &&() &&) &&) &&) &&)( &&( && &&& &&&( &&&
&)( & & &( &
165
rit.
#$$ , & & & & & & & & & & & & % &&& &&& &&& % && & && && &&& &--- ---
.!
!
!
((
Clarinet in Bb4
!
Nice, but not too nice
q=76 3. The English Are So Nice!
accel. A tempo177
"f#$
#$% #$#$ #$% #$ #$& #$&
sfp
#$ #$' #% !cresc.
# # #% # # # # # ( # # # #&f
# # #&) ( *
179
A tempoaccel. molto rit.
"mf
#$%#$ #$#$% #$ #$& #$& #$ (
cresc.
#' #% ##f
### #& #% #' #% # (mp cresc.
####f sfp
## #& #% ## #& #% #mf
# # #$ #$A tempo181
"
#
" (The Eng
#+ ,&lish
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,& ! *
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# # #& # #& # #% #& #$. #$.&
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3
- nice
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sfp
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187
"
#
" , ! *
" /f
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pp
#$ #$%
189
" ( #& ###ppp
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ff
# # # #' # #& #' #% , #$.sfp,' !
* 0
Clarinet in BbClarinet in Bb 5
194
accel.
! " #f
$%$%& $% $%!'" $%( $%& $% $% $( $ $ $& $%' $% $% $% $% $) $' $& $ $
A temporit. ! #and
*what's
$
! + $ $& $( $' $& $' $( $' $%&$% $% $%' $%
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mp
$ * *&mf
,
200
$
%
!more,
*' #they're ver
$ $ $y
$'- nice
* $- + +a bout- your
$( $ $(be ing-
$ $
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pp
# "mp
$& $' $( $$$$ $&mf
$& $' $( $$$$ $& $%' $% $%& $%& $' $( + +p
$'- $ $'
203
$
%
!nice
$&as well!
$ $ *& $- + # #if
$&you're not
$ $& *nice,
$'
! $ $ $( *( $- + # " +p
$' $( $ $mf
$ $& $& $' $ $ $& $ $ $
206
$
%
! * " +they soon
$. *(make you
$ $
!f
$ $%( $% $% $%& $% $% $%& $' $& $ $' $ $ $ $ff
$' $ $& $' $ $ $ $ *pp
*&
Clarinet in BbClarinet in BbClarinet in Bb6
208
!
"
!feel
"#it.
"$ % & 'A mer
() *- i- cans-
() ( ( ( 'and French
($+(#
! 'ppp
() (((mp
(( () (( () (# ($ ") ( ( ($ () ($ (* ' & ,
211
!
"
! (+ ' 'and Ger
(+"#
mans
(- and so
( (on
(# ( ( ( &they're
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( (
! , ,mf
mp
( () ( () ( ($ () ( "p
(# ($
214
!
"
!nice,
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() ( "$
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(- (-) (- (-##$ ( ( ( () ( (# () ($ ( 'pp
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216
!
"
!nice in our
() ( ( "sense
(# ( &of the word,
( ($ ()
!mp
(# () ( () () ( ($ () " ( (pp
& %
Clarinet in BbClarinet in BbClarinet in Bb 7
218
!
"
! " #are
"they
"$
! #mf mp
"% " "$ "& "% " "$ "& "' "' "'$ "'%
pp
"' "' "'#&$ "'
219
!
"
!now?
( % #
! "& " " " " " " "f
" " " " " "% "% " " "'% "'$ "' "& "$ "$ "& "% "$ "$ "&
220
!
"
! ) *That's why
"+ "&one
"does n't- have
"% " "& %
to
"&+
!pp
"% "& "$ " "% "$ " "% (& "$, *
mp
"& "$ " " % "%+
222
!
"
!take
"them
"$ser i- ous- ly.
"% " " "-
*We must
"$ ,be nice
"$ "to them,
"% " "&
!p
"$ "& " " " " " " " " "& "$ " "% "% " "'- "'-& "'-$ "'-% " ()
224
!
"
! *of course,
"$+ (% *of course,
", (% #nat ur- al- ly-
" " "& "
! #p
"$ " " " " " " " " " "& "$ "% "$ " " " " " "% " " "% "$ (&# "% "
Clarinet in BbClarinet in BbClarinet in Bb8
226
!
"
! "But it does
#$ #n't- real ly- mat
# # #$ #ter- what you say
#% # # # #&to them:
# # '$ ( "they don't
#) #$real ly- un
#% #$der-
#$ #%
! # # #$ #$ # #%mf
# #$ '( *
229
!
"
!stand
' # ( "you
#$ )can just
# # #say
#an y
#+ # #
- thing
'$%%-
! ,p
#% # #& #$ #% # #& #
mp
#% # #& # #$ #& # # # # # #$#&+ #$ # '
232
!
"
!to them:
# # ' ( "be nice,
#$+ #% ( "you
#+
! (mf
#$ # ## ### ### # #$ # #% #$ #p
# #$ # # ### # # #&" #& # #$ #% #&
234
!
"
!know!
' (just be nice...
#% #& '$ (but you
# #%
!pp
#& # # # # # # # #$ # #$ # # #$ # # # #& #$ '& ( #& #
236
!
"
!must
#ne ver- take
#% # #$them ser
#% #i- ous- ly,
#$ # # #-
( "they would
#)n't- un
# #der- stand
#& # '$-
! #$ # #- #-$mf
#-$ #-& #$ # #% #& #- #-f
#% #& #-$ #-& #- #- #. #, *
Clarinet in BbClarinet in BbClarinet in Bb 9
239
!
"
! "just be nice,
# #you know!
# # # $ "oh, fair
#% #&ly- nice,
# #' # #(
!#( #### #& #' # #' #########
#' #' ####p
### #' #& ### #& # # #( #& #'241
!
"
! $not too
#) # "nice
# #( # "of course,
#) #they
# #&
!f
###* #*( ###* #* # #( #* #* "ff
# #( ## ## #& #( #& #' #' #( #% "f
## #' #& #' #### #( ######
243
!
"
!take
#) " "ad van
#) #- tage
#&-
+ ,
! ##'$% " "mp
#% # #(mp
# #& ######mf
## #( # #' #' #( #' #& #& #( #' #& #( #& # #& #######
245
!
"
! - "but nice
#)e nough,
#' # +-
! "f
# # # # # #' # #' #' # # #pp# # # # # # # # # # # # # # # # + +
247
!
"
! "just nice
#'%e nough
# # #(- to let
#' # #them feel they're
# # #¬ as
# % #
! "mp
#) # + # # # #( # # #'
Clarinet in BbClarinet in BbClarinet in Bb10
249
!
"
!nice
"as they might
" # " #
!mf
"$ " " "$ " " "% "$ " "p
"$ "& " "% "& " " "$ " " "% "& " " " "
250
!
"
!be.
'
! " "% " " " "$ "& "$ " " " " " "$ "& " (" "$ "& "
pp
"% "& " "% "& " "$ "%
251
!
"
! ' # )* %%
!' #
ppp
)* %%
Clarinet in BbClarinet in BbClarinet in Bb 11
!Like a wind shadow...
h=60
4. A Baby Running Barefoot
253
"##$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
256
"## %always silky smooth
&mp
cresc.
3
$$$3 3
$$$$$$ $
mfdim.
$$ !
3
$ $ $$$p
$ $ $$ !' ( ' !
&
262
"##mp
$ $ $3 $ $ $3 $ $ $3
' (pp$) * &
mp
$$ !$ $ $ $ $p
$ $ $ $ ' '
268
"## + ,p
$ $ $3
mf
$ $ $ $ !$ $ $3
$ $ $ !'mp
$) * & ,
mf
$ $ $# $
275
"## ' $ $ ' mp$ $ $# $ $ $ $3 $
mf 3
$$$ $- $. $. $.mp
3
sfp
$ $- $. $. $- (. (
281
"##$)* & , / ,
mf
$ $# $ $ $ $3 ' $
f
$ $ $# $ $ ( /
Clarinet in BbClarinet in BbClarinet in Bb12
294
!""mf
# # #3
## !
# # # # #3 # # #3
f
$ # !
sfp
#" % & 'p
# # #3 #" # #3
300
!""pp
&p
#" # #( # ! $mp
$"p
$ $ $ !
pp
) $" $ *p
#" #
307
!"" $mp
# # #" # $+ )
p 3
# # #3 3
# #" # # # #"3 3
# # ## # # # #
314
!"" )pp$ #
3 3
# #" ##### # #3
mp
$ # #p
# # #3
# # #"3
#mp
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sfp
# #" # &320
!""mf
&f
, ) - #./( #.0 #/ #.3
#0 #. #/3 #./ #/ #.3
sfp
&.0mp
#/ #0 #( - ) +
330 poco rit. A tempo
!""mp
#" # # #0 ' ' # # #mf
# #3
# # # # # # # # $ ! #p
336
!"" 'mp
# # #3 $ &pp
#( - ) * 'p
$1 # # # # #( - )
343
rit.
16'46"
!"" , 'mp
# # #3
#1 # #3
& &pp
& & &
Clarinet in BbClarinet in BbClarinet in BbClarinet in Bb 13