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Angels for alto saxophone and wind ensemble is a harmonically lush and
  melodically memorable showcase for the solo saxophone.  8-minutes,
    
    composed 1988, rev. 2022

Angels

Concert Band Score & Parts

Ensemble

Instrument Family

Instrument Type

Composed and premiered in 1974 by pianist William Koseluk this set of twelve variations for solo piano is based on titles by poet Rip Cohen.

Cadenza Ingannata

Piano Solo

These delightful character pieces paint a picture of a ranch. Highlights include "The Owl's Lullaby for the Little Deer," and "Ducks on the Pond." The language is tonal, with interesting twists that help create the poignant moods found in this suite of pieces.

Six More Spanish Lessons

These three whimsical unaccompanied pieces for bassoon make an excellent recital piece. They are at times humorous and sometimes lyrically pensive. The last movement is a fughetta with all the voices played by the soloist. The suite begins with a witty burleske and a thoughful evocation follows.

Bagatelles

Bassoon Solo Unaccompanied

Scored for solo harp, double woodwind quintet,  brass quartet and double bass, this
  15-minute serenade, composed in 1990, revised 2020, features lush atmospheric
  writing.

Shadows and Echoes of Summer

Flexible Instrumentation Score & Parts

Icarus for piano solo was composed in the summer of 1988 at the request of pianist William Koseluk. The mood of the piece reflects the youthful enthusiasm and heroism of the flight of Daedalus and his son and evokes the romantic spirit of the 'wanderer'.  The work is cast as a one-movement rondo lasting thirteen minutes and is intended as a brilliant showcase for the pianist who at times might seem to be struggling against impossible odds.

Icarus

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:
    
    
    
    iWith 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
  Carbonis 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 i
  disjunct in the romantic mold i to escape being seen as a return to a
  bygone era. Certainly, polychordal and dissonant dialogues between orchestra
  and piano bring this piece to the contemporary field. Serenity, though, and
  tender melodic consideration are also an important part of the compositional
  fabric and provide the listener with a rich, varied, experience.
    
    
    
    It was the composeris intent to vaguely imitate the compositional and
  performing temperament of the premiering pianist (William Koseluk). In fact,
  a key theme in the piece is a partial paraphrase of one of Koselukis early
  melodies, a composition dedicated to Mr. Carbon. In the Piano Concerto,
  though, the treatment is very new and different.
    
    
    
    The theme is presented and developed, but it is actually encapsulated
  within a larger set of chordal and technical movements which treat this melody
  more as a harmonic element, rather than a specific melody to be played,
  repeated, developed, and sentimentalized.
    
    
    
    The work is in one movement, with three sections. The first is grand and
  dynamic: the section demands decisive interaction and declamation between all
  forces. Many motives and thematic fragments are presented, all of which are
  recapitulated at different times for different purposes. The second section
  contrasts, with a lyric melody with a rather original sentiment very much in
  the character of Carbonis lyric writing. The final section is whimsical,
  yet very technically demanding for the pianist. This movement certainly
  reveals the composeris skill in writing for the instrument, allowing the
  performer to show much technique, in a manner appropriate to the instrument,
  while also showing the instrumentis lyric and harmonious side as
  well.i
    
    
    
    The Piano Concerto has been recorded by William Koseluk for the MMC label.
    
    Selected Performances of Piano Concerto
    
    
    
    American Premiere: November 30, 1998, William Koseluk, pianist, with the
  Czech Radio Orchestra of Prague, Vladimir Vilek, musical director, as
  part of their Boston-Prague Contemporary Music Festival, and first American
  Tour, Symphony Hall, Boston
    
    
    
    European Premiere: May 3, 1999, William Koseluk, pianist, with the Czech
  Radio Orchestra of Prague, Vladimir Vilek, musical director, as part of
  their Boston-Prague Contemporary Music Festival, Smetana Hall, Prague

Piano Concerto

Time Out of Mind was composed in 2001. The middle piece, Elegy for Peg, was composed after my Grandmother's passing. This movement has subsequently been used in dramatic productions (Dorothy Louise's production of The Winter's Tale) and dance concerts (choreographed by Julie Brodie). The outer movements of the set were both composed for dancers. The central thread that permeates the suite is that of time passing.

Time Out of Mind

Tarantulatella was composed in 2005. Some have speculated that the Italian Tarantella was originally inspired by a dance that originated around the town of Taranto in the 16th century. There was a plague of tarantulas. Victims supposedly bitten by the spiders went into a trance only to be cured by the wild dance now known as the Tarantella.

Tarantulatella

Lush, atmospheric harmonies and memorable melodic writing along with
  exciting cadenzas and drumming make this an attractive work for both soloist
  and ensemble.

Astro Dogs is the sequel to my guitar piece Astro Cats (1992). As in
  Astro Cats, the twelve pieces in Astro Dogs are based on the twelve
  astrological signs of the zodiac. In Astro Cats the specific type of cat was
  not specified for each piece, however in Astro Dogs, each piece is not only
  associated with a specific zodiac sign, it is also associated with a specific
  dog breed.
    
    
    
    1. Beagle (Aquarius)
    
    
    
    2. Basset Hound (Taurus)
    
    
    
    3. Bichon Frise (Gemini)
    
    
    
    4. Saint Bernard (Leo)
    
    
    
    5. Standard Poodle (Libra)
    
    
    
    6. Piera Canario (Scorpio)
    
    
    
    7. Labrador Retriever (Sagittarius)
    
    
    
    8. Chihuahua (Pisces)
    
    
    
    9. Toy Boston Bull Terrier (Virgo)
    
    
    
    10. Pekingese (Cancer)
    
    
    
    11. Werewolf (Capricorn)
    
    
    
    12. Irish Wolfhound (Aries).
    
    
    
    iJohn Carbon

Astro Dogs

Percussion concerto for Vibes, Marimba and Xylophone with double woodwind
  quintet, brass quartet, Tubular Bells and Crotales

Dreams within Dreams

A serenade for solo harp, double woodwind quintet and brass quartet.
  Atmospheric and lyrical. Composed in 
    
    1988, revised 2022. Optional offstage playing. Some players double
  percussion.

Harp Ensemble

Twenty four pieces, each in a different key and mood. Fugal writing alternates with lyrical character pieces, some dedicated to other piano composers (for example George Sand's Dream).

Short Stories

Keyboard Percussion Solo Collection

These five pieces are based on early snapshots of the composer's father in which he is sailing, playing chess and listening to jazz.

Five Snapshots

Keyboard Percussion Solo

These six evocative character pieces for piano are filled with nostalgia and humor.

Madeleines

These short, colorful piano preludes capture the memories of a child growing up in a small town.

Small Town Memories

Fantasy-Nocturne (2012) is a one-movement concerto for piano and orchestra written for pianist Steven Graff.

Fantasy-Nocturne

Chamber Orchestra with Piano

Twelve short character pieces for guitar based on cats and the signs of the zodiac. Composed in 1994 by John Carbon.

Astro Cats

Guitar Solo

Composed in 1983 these short pieces for solo guitar were inspired by Medieval knights who were composers and poets in the northern part of France. Helpfully edited with suggested fingerings.

Suite Trouveres

Global Sections - CORE [DO NOT TOUCH]*

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