Biblicals: Concerto for Solo Piano - Noten für Klavier Solo Carson P. Cooman

The work is in five movements, each inspired by a different biblical quotation which is
quoted in the score before each movement. If possible, these passages should be printed in
the program or read aloud before the performance of the work. Each movement is
programmatic only in an internal sense. While the movements do not attempt to directly
portray the "action" of the passage in a storybook sense, they do attempt to capture the overall
affect of the verse. The form of the work is as a concerto for solo piano drawing on a title
that has been used in the past by numerous composers. Likewise, although the work does not
involve an orchestra, I have titled it "concerto" because it contains elements of a concerto solo
part and because of the virtuosity required to perform the work. The work explores a widerange
of styles from quasi-lyrical to highly chromatic. Throughout, the work has a rhythmic
intensity which should be observed by the performer.

The first movement, Hovering Over the Waters, makes use of an irregular rhythmic pattern
introduced in the opening measure and used throughout the work. Irregular and "nervous"
rhythms using chromatic intervals pervade the entire movement.

The second movement, Baldhead, is a forceful and loud movement making use of the clash
between diatonic and pentatonic clusters. It is relentless in its pounding energy, irregular
rhythms, and volume. This movement is dedicated to American composer Daniel Pinkham
on the occasion his 75th birthday in 1998. The connection of this movement to Pinkham
comes in the superimposition of pentatonic and diatonic clusters, a technique used so well in
one of my favorite Pinkham works, Blessings for Organ (1978).

The third movement, Forgiven and Free, presents a tranquil scene involving the building of
chords, "standard" and otherwise, through the adding of tones one at a time. Brief chromatic
melodies appear and then disappear quickly.

The fourth movement, Under the Sun, makes use of a motive involving four chords over a left
hand bass consisting of a major-tenth chord. This motive appears throughout the movement,
constantly breaking in and interrupting the action. A variety of irregular rhythmic motives
appear throughout as a contrast to the main motive with its strict rhythm. Quotes of nursery
rhyme tunes are hidden throughout the movement as well in various forms.

The fifth movement, The Seventh Angel, is a fast and furious tarantella. As the movement
flies by a variety of musical ideas emerge and then "disappear into" the main motive again.
The music continues to get faster and faster and finally the movement ends with a furious
progression from the bottom to top of the piano and then a thunderous unison chord in the
lower register.