Preludes 4-6 - Carson Cooman - Haley Myles

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Nine Preludes (2007) for piano is composed as a set of discrete movements, the preludes are very much interconnected, as motivic and developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minor and major thirds) is shared among all nine movements. An elegiac quality runs throughout the work. Carson Cooman is composer-in-residence at Harvard University.

Prelude IV 0:00
Prelude V 2:17
Prelude VI 6:13

The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to the end.

The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (both quiet and loud), the movement explores certain harmonic colours of the piano.

The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening is marked “like an ‘off-kilter’ folk song,” and this original melody is subjected to a variety of transformations and textures. The rhythmic patterns are constantly in flux.

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As a Young Steinway Artist, Haley maintains an international performance schedule. Her appearances to-date include recitals in the United States, France, Germany, Austria, Portugal, Italy, Switzerland, and the United Kingdom. She has participated extensively in various high-profile international music festivals, both domestic and foreign. She is also a laureate of seven international competitions.

Haley holds certifications from distinguished institutions including the Mozarteum (Austria), Imola Piano Academy (Italy), and Freiburg International Piano Academy (Germany). She achieved a Bachelor in Piano Performance at the University of Arkansas in 2016 where she was a recipient of the Stella Boyle Smith scholarship. Haley also holds a Master in Piano Performance (with first-class honours) from the London College of Music, where she received the Mona Blackman scholarship. In 2019, Haley received a postgraduate diploma from Trinity Laban Conservatoire as a Cross Funds Scholar.

She is most proud of her extra-curricular activities, involving continued work with individuals on the autism spectrum. Having authored a United Nations honoured book dedicated to helping children with autism, the cause remains a constant passion visible in her everyday life.

[jimkesselman]

The music that Carson composes is so different than anything I have heard to date in a good way. It “fits” together so well in its own unique way which definitely draws in the listener. 🙌❤️🎹🌈

[mfbmmet]

This is wonderful! Definitely, listening to you brighten my day

[r.b.ratieta]

Something interesting occurs when you listen a second time. The first time your brain picks up on the melodies because it's in "song listening" mode. The second time (at least with me) you imagine the techniques being used alongside the sounds. (Read More).

That being said, it seems to me that Carson enjoys challenging their own capabilities in composition. They also seem to enjoy exploration in places people normally don't go -- like curious daredevils who randomly see if they can climb the side of a building. If Carson were a sculptor, I imagine them as the type who would try random things with the wet clay, such as putting random colors in one batch just to see what it looks like or shooting a projectile into the unfinished structure just to see the type of texture it would leave behind.

Getting all of that into sheet format and then PLAYING it from sheet format are both noteworthy feats. Props to both the composer and performer for making it come together smoothly.

Definitely grows on you. I imagined these preludes like climbing the uncharted side of a mountain. Lots of unexpected twists and turns, but once you've made it to the top the first time, you start noticing all the little nuances on the second climb.

Nicely played, as always.