Video Content

Below are a few video documentations of my music.

Robert Carl: The Time Keeper (2013)
Originally a student of history before he refocused his efforts into music, Robert Carl's interest in time, memory, and space are veins running through his compositions, his work more given to conjuring imagery than narrative plot. And whether inspiration is mined in the wake of a seascape or travelers on a speeding bullet train, the resulting music tends to carry a distinct organic beauty and rich, encompassing depth.


Jyun On (2017)
October 4, 2017
Elizabeth Brown and Ralph Samuelson (shakuhachis)
Issui Minegishi (ichigenkin)
Bliss Auditorium, The Hartt School, West Hartford, CT


Sonatina for flute and piano (2017)
April 9, 2017
Janet Arms (flute)
Jesse Goldberg (piano)
Millard Auditorium, West Hartford, CT


Infinity Avenue (2017)
Infinity Avenue. February 5, 2017
Henry Birdsey (guitar)
Adam Buffington (saxophone)
Robert Carl (laptop and shakuhachi)
Zach Rowden (bass)
Trevor Saint (glockenspiel)
Matt Sargent (guitar);
Real Art Ways, Hartford, CT


What's Underfoot (2016)
What's Underfoot. December 7, 2016 Foot in the Door, conducted by Edward Cumming;
Lincoln Theater, West Hartford, CT


Open/Empty (2016)
Open/Empty. April 27, 2016 Foot in the Door, conducted by Glen Adsit;
Lincoln Theater, West Hartford, CT


A-... (2015)
Premiere of a-… for a cappella chorus (text by composer). November 7, 2015 Khorikos, conducted by Jesse Peckham;
Shrine of St. Anthony of Padua, New York, NY


Quantum Dances (2017)
May 13, 2017 ensemble counter)induction, Nimoy Thalia, Symphony Space



Death March (2017)
Premiere of "Death March" for wind ensemble. May 6, 2017 Hartt Wind Ensemble, conducted by Glen Adsit;
Lincoln Theater, University of Hartford, Hartford, CT.
"A sincere offering to the National Leader and his circle, portraying their unique and exceptional qualities."

Duke Meets Mort (2015)
Corey Killian, Phillip Plott, Shane Rathburn, and Ian Robinson, saxophones.
November 20, 2015, The Dirt Salon, Hartford New Music Festival


ColdNightSnow (2015)
for two concert glockenspiels; Iktus: Sean Statser and Josh Perry;
June 4, 2016, The Firehouse, Brooklyn NY


Infinity Avenue (2015)
Robert Carl, laptop
Concert premiere of November 12, 2015. Open-form work for laptop; this version is an abbreviated “teaser” of a work that can be explored for much longer durations. Based on a MaxMSP patch that navigates vertical “ladders” made up of precisely tuned frequencies that follow the overtone series.


Piano Sonata No.3, "Clouds of Clarification" (2015)
Aron Kallay, microtonal piano
Concert from Los Angeles premiere series; Harvey Mudd College, Claremont, CA; Nov. 4, 2015
Work in four movements (played without pause) that explores harmonic regions based on the overtone series. Movements move through four "elements" : water, earth, air, and fire. System involves Pianoteq for tuning and MaxMSP for switching between tunings.


River's Bend (2012)
Brazilian Premiere of "River's Bend" at the Eleazar de Carvalho International Music Festival, July of 2012!
Janet Arms and Thiago Sousa (flute)


A Musical Enquiry into the Sublime and Beautiful (2014)
Peabody Camerata
Gene Young (conductor)


Garland (1991)
for electronic cello and video
Jeffrey Krieger (ecello)


Quantum Dances (2011)
Anna Griffis (violin)
Dan Liptak (clarinet)
Erberk Eryılmaz (piano)
with Arcan Kündük (narrator)
Hacettepe University, Ankara State Conservatory, Ankara - Turkey


Night Garden Excerpt (2014)
Robert Black's Bass Band ensemble
Promotional video for Robert Black's Bass Band ensemble. Images taken from the recording session of Robert Carl's Night Garden for Bass Quintet, in Berkman Recital Hall at The Hartt School, University of Hartford.


A Clean Sweep (2013)
Robert Carl (Shakuhachi)
for shakuhachi and fixed media generated by Max/MSP
Wintergreen festival 7/3/13, Wintergreen VA (preceded by brief solo improvisation)

River's Bend (2011)
Janet Arms (flute)
Michelle Stockman (flute)
From Robert Carl's 60th birthday recital, March 1, 2015, The Hartt School, University of Hartford.


Changing My Spots (2016)
work for open instrumentation and duration,
Ensemble mise-en members Sam Nester, Elizabeth Martignetti, and Mark Broschinksy (brass and electronics),
10/2/16, Brooklyn, NY


Changing My Spots (2013)
work for open instrumentation and duration, musicians of Wintergreen festival, directed by Robert Carl,
7/3/13, Wintergreen VA


Shake the Tree (2009)
Donald Berman and John McDonald (piano)
6/8/09, American Composers Alliance Festival, Symphony Space, New York City


A Clean Sweep (2005/2014)
From Robert Carl's 60th birthday recital, March 1, 2015, The Hartt School, University of Hartford.
Elizabeth Brown and Robert Carl (shakuhachi)
Gayl Teo, Jessie Snoke, Luciana Arres, Min-Jung Noh, Nam Srirojanun (violin)
Matt Norman (Viola)


Thirteen (2013)
Robert Carl (piano and voice)
From Robert Carl's 60th birthday recital, March 1, 2015, The Hartt School, University of Hartford.


Sonatina, "The Dance of Time and Space" (2015)
March 1, 2015, Katie Lansdale, violin; Margreet Francis, piano
From Robert Carl's 60th birthday recital, March 1, 2015, The Hartt School, University of Hartford.

Movements:
I. Marking the Space
2. Filling the Space
3. Freeing the Space


Updraft (2010/14)
From Robert Carl’s 60th birthday recital, March 1, 2015, The Hartt School, University of Hartford. Matthew Russo - tenor trombone (and multi-tracked on nine alto, tenor, and bass trombones)


Inevitable Wave (C) (2013)
The Inevitable Wave(C) is the third work in a series, as it suffix suggests. It began life as an unaccompanied fixed media piece, which consisted of the sound of a single ocean wave breaking on a shore--about ten seconds long--that was ultimately stretched to be almost ten minutes long. [The wave was from a recording by Karen McCoy, made on the French Mediterranean coast in 2000.] The idea is of something that emerges from silence and grows ever louder, from a point where it is at first difficult to determine if there's even anything there or not, to a roaring, almost unbearable crescendo. That piece suggested that it should be further extended by the addition of live instruments. In this version for chamber orchestra, two movements have been added before the start of the electroacoustic part. The first, “Rolling Waters/Uneasy Calm” is a dark, roiling texture of low-register sounds. The second “Beacon/Warning” is a complete contrast, made of sharply attacked, bright, metallic chords, that grow ever richer harmonically upon repetition. The third is the interaction between the ensemble and the electroacoustic “wave”, the acoustic parts having been derived from spectral analysis of the electronic "wave" material.
This piece has two strong and immediate extra-musical analogues. The first was the devastation of the Japanese tsunami and earthquake that occurred only a few months after I had completed the electroacoustic part, and a few before I started this piece. The second is the broader issue of climate change, the sense of something ominous on the horizon, still soft but growing more insistent, leading toward a greater catastrophe than anyone is willing to imagine. Written in the wake of Hurricane Sandy, this feels particularly appropriate. [And for the record, this is not a suddenly recent concern. In 1991 I wrote a piece for orchestra titled “Death” (Capstone 8779), that depicts an asphyxiating earth].
Having said this, I also hope that the piece contains an inherent power that justifies its musical form and content, in their own right.

Sound and Shadow (2012)
Dedicated to the memory of T. Max Graham
mccoycarl* (Karen McCoy, artist and Robert Carl, composer) Musicians: Tom Aber, Pat Conway, Dwight Frizzell, Richard Johnson
2012, LaEsquina, Urban Culture Project Gallery, Kansas City, MO
excerpt from longer video


Trancendance (1988)
Dora Ohrestein (soprano
Kathy Supove (piano)
Robert Black (bass)
Video by Victor Velt. A monodrama using Shaker texts from the great spiritual revival of the sect in the early 19th century.


From the Ground Up (2002)
Robert Carl (piano)
Performance at Hacettepe University Conservatory, Ankara, Turkey, May 26, 2011


Bullet Cycle ()
--for plucked/struck and sustaining instruments, with percussive timekeeper.
Katie Kennedy (cello)
Bill Solomon (vibraphone)
Sayun Chang (percussion)
Choreography: Pathless Journey, by Katie Stevinson-Nollet


Beginning My Studies (2014)
for piano and soprano
Patrice Michaels (soprano)
Elizabeth Buccheri (piano)


A Wide Open Field (2011)
for orchestra
Jeffrey Krieger (cello)
Gene Young (conductor)
Hartt Symphony Orchestra


Time/Memory/Shadow (1993)
for chamber ensemble
Extension Works


Roundabout (2003)
Roundabout playlist
Hartt Contemporary Players


The Big Room (1995)
for solo piano
Robert Carl (piano)


Nach [t(raum)]ist Kommen (1995)
for solo piano
Robert Carl (piano)


Ritratto dei Giorni e delle Notti su Lago di Como (1995)
for solo piano
Kathleen Supove (piano)


Piano Sonata No. 1 "Spiral Dances": I. Dance of Awakening (1995)
for solo piano
Kathleen Supove (piano)


Piano Sonata No. 1 "Spiral Dances": II. Dance of Fire (1995)
for solo piano
Kathleen Supove (piano)


Piano Sonata No. 1 "Spiral Dances": III. Dance of Growth (1995)
for solo piano
Kathleen Supove (piano)


Swing Shift (1995)
for solo piano
Kathleen Supove (piano)


Warm Waxing Wail (1995)
for solo piano
Anthony De Mare (piano)


From Him to Me (1995)
for solo piano
Kathleen Supove (piano)


Shake the Tree (2013)
for solo piano
Donald Berman (piano)


Braided Bagatelles: I. Cadenza (2013)
for solo piano
Moritz Eggert (piano)


Braided Bagatelles: II. Marking the Field (2013)
for solo piano
Moritz Eggert (piano)


Braided Bagatelles: III. Stretching (2013)
for solo piano
Moritz Eggert (piano)


Braided Bagatelles: IV. Marching (2013)
for solo piano
Moritz Eggert (piano)


Braided Bagatelles: V. Floating (2013)
for solo piano
Moritz Eggert (piano)


Braided Bagatelles: VI. Flying (2013)
for solo piano
Moritz Eggert (piano)


Piano Sonata No.2, "The Big Room": I. Clouds are Scattering (2013)
for solo piano
Erberk Eryilmaz (piano)


Piano Sonata No.2, "The Big Room": II. The Big Room (2013)
for solo piano
Erberk Eryilmaz (piano)


Piano Sonata No.2, "The Big Room": III. The World Turned Upside Down (2013)
for solo piano
Erberk Eryilmaz (piano)


Darling, I'm Useless to You (2007) - Kai Schumacher (piano)
(3:45 - 6:25 -- part of a set of variations commissioned by the pianist from twelve composers)