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.

White Heron (2012) for orchestra
Boston Modern Orchestra Project
Gil Rose, conductor

Rocking Chair Serenade (2013) for string orchestra
Boston Modern Orchestra Project
Gil Rose, conductor

Growth Fugue (2020) for string quartet
Composed, rehearsed, recorded remotely in quarantine (performers from Hartford, San Antonio, Santa Barbara; composer from Kansas City),
one of the first such works. Violist Rita Porfiris requested a piece based on the theme of Beethoven's Grosse Fugue Op.133. The result is a set
of micro-variations that explores the source within a three-minute dash.

excerpt from the opera Harmony, first scene

Harmony - Opening Chorus (from 2021 premiere, Seagle Festival)

Symphony No.5 "Land" (2013)
Boston Modern Orchestra Project
Gil Rose, conductor
[Portrait of a trip across the Great Plains into the Rocky Mountains]

Symphony No.6 "Dome of Refuge" (2017)
March 30, 2018
Hartt Orchestra
conducted by Edward Cumming
Lincoln Theater, University of Hartford, West Hartford, CT

Splectra for harp and live digital processing (2020)
Alison Bjorkedal, harp
Robert Carl/Matt Sargent, electronics

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 (2006/08)
performed by Janet Arms, flute and Jesse Goldberg, piano

Birds and Flowers (1999) for flute and piano
Janet Arms (flute)
Jesse Goldberg (piano)

Forms of Floating (1979) for solo flute
Janet Arms (flute)

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

Infinity Avenue (2018)
Excerpt from performance at Kansas City Art Institute. February 27, 2018
with KCAI SoundArt Collective (Dwight Frizzell, director)
and IMP ensemble of UMKC (Mike Miller, dirctor).

Refiner's Fire (2019)
October 27, 2019
Amaranth Duo - Ása Guðjónsdóttir, violin and Christopher Ladd, guitar
Based on a fragment of an aria by Handel from Messiah.

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

Sentient Serenade (2021)
for mixed quintet. A portrait of a single day's ambient sounds made by birds, frogs, and insects. October 21, 2021 Four Corners Ensemble
Lincoln Theater, West Hartford, CT

Open/Empty (2016)
Open/Empty. February 28, 2020, Foot in the Door, conducted by Edward Cumming; introductory remarks by Robert Carl;
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

Fragile Farewell (2014)
for piano trio
Entelechron: Roger Zahab, violin, David Russell, 'cello, Robert Frankenberry, piano'
Based on tradition song "The Parting Glass", commissioned by Gilda Lyons and the Phoenix Concerts

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.

Piano Sonata No.3, "Clouds of Clarification" (2021)
Aron Kallay, microtonal piano

River's Bend (2012) for two flutes
performed by Janet Arms and John McMurtery

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

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

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)

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 (2012): Bagatelles for Pianist/Narrator
(after Wallace Steven's Thirteen Ways of Looking at a Blackbird)
Pianist/Narrator - Robert Carl
Images from Wallace Stevens Poetry Walk, Hartford, Connecticut

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.

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)
For contrabass and fixed media
Hartt Contemporary Players

El Canto de los Asesinados (2003)
For tenor, shaman, and ensemble
Hartt Contemporary Players

Bells Dance, Drums Ring (2003)
For percussion quartet
Hartt Contemporary Players

Lesgedowdaheah (2003)
For jazz-rock ensemble
     1. Blind Side
     2. Slam
Hartt Contemporary Players

Haiku for Buson (2003)
For narrator and fixed media
     1. I
     2. II
     3. III
     4. IV
     5. V
     6. VI
     7. VII
     8. VIII
     9. IX
     10. X
Hartt Contemporary Players

Der Berliner Hornisse (2003)
For alto saxophone and piano
     1. Inside the Hive
     2. Stinger Dance
Hartt Contemporary Players

Nel Miller, Op. 1 (2003)
For fixed media
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"(1995)
for solo piano
Kathleen Supove (piano)
     I. Dance of Awakening
     II. Dance of Fire
     I. Dance of Growth

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 (2013)
for solo piano
Moritz Eggert (piano)
     I. Cadenza
     II. Marking the Field
     III. Stretching
     IV. Marching
     V. Floating
     VI. Flying

Piano Sonata No.2, "The Big Room" (2013)
for solo piano
Erberk Eryilmaz (piano)
     I. Clouds are Scattering
     II. The Big Room
     III. The World Turned Upside Down

Martello Mix (2009) for fixed electronic media (collaboration with artist Karen McCoy)