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A quirky toccata written by one of my favorite composers, the elusive Kaikhosru Shapurji Sorabji. Known for composing some of the most difficult piano music ever penned, Sorabji has gained a sort of mythical status among pianists, yet most are sadly unacquainted with almost any of his works. This is an early piece, written in a sort of through-composed, athematic style that he would later abandon in favor of stricter forms with works such as his 4th Piano Sonata and the monumental Opus Clavicembalisticum (which usually takes about four hours to perform in its entirety!).
Despite the fact that many of his works are criticized as being inaccessible for performers and listeners alike, I have found that playing his works has always been a unique and rewarding experience, and (much to my surprise) I have always found that his music seems to be the favorite among audience members of every concert or competition in which I've programmed it.
I gave this performance in 2010 as part of a solo piano recital. There are a few mistakes scattered throughout as a result of minor memory lapses (this was my first live performance of the work), but overall, I believe this to be a mostly accurate performance.
Fantasy for Two Pianos, performed live by John Carey and Kyle Landry on August 13, 2011 in Nashua, NH.
This piece can be described as a virtuosic showcase for two pianists. I consider this to be one of my most fun and accessible works. The first movement begins with a triumphant introduction which then leads to a not-so-subtle nod to the French impressionist composers that have greatly influenced my music (particularly Ravel). The second movement heavily features (more so than any of my other works) the influence of Jazz and perhaps even a touch of Progressive Metal!

Fantasy for Two Pianos 

John Carey (Piano 1)
 Kyle Landry (Piano 2)http://www.youtube.com/watch?v=RHVyAT_4HEYshapeimage_13_link_0

Sonata for Violin and Piano (2009)

Sarah Atwood (Violin)
John Carey (Piano)http://www.youtube.com/watch?v=ReUgnaMonxcshapeimage_14_link_0
Sonata for Violin and Piano, first movement, played by John Carey (piano) and Sarah Atwood (violin). Dec. 2, 2009, Hartt School of Music, West Hartford, CT
This piece, written in 2009, differs stylistically from my more recent works in many ways, but it is never-the-less still a favorite of mine. Heavily neoromantic with some jazz influences.
Videos of live performances. VIDEOS
Kaikhosru Sorabji
II. Toccata (1920) 
from “Two Pieces”

John Carey (Piano)http://www.youtube.com/watch?v=-HDY6Dvegu8http://www.youtube.com/watch?v=-HDY6Dvegu8http://www.youtube.com/watch?v=-HDY6Dvegu8shapeimage_21_link_0shapeimage_21_link_1shapeimage_21_link_2
Franz Liszt
Mephisto Waltz No. 1

John Carey (Piano)http://www.youtube.com/watch?v=G7D5wZwONTchttp://www.youtube.com/watch?v=G7D5wZwONTcshapeimage_23_link_0shapeimage_23_link_1
My performance of Liszt's "Mephisto Waltz No. 1,” from a solo piano recital I gave on August 13, 2011.
This is one of the most famous pieces in the piano repertoire. Containing sections of dazzling virtuosity contrasted with moments of tender lyricism, this is a programmatic work that musically depicts a story from Lenau’s Faust:
“There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightengale warbles his love-laden song."
Leopold Godowsky
Four Poems

(I. Devotion, II. Avowal, 
III. Adoration, IV. Yearning)

John Carey (Piano)http://www.youtube.com/watch?v=BbQrrJ7L_Ckhttp://www.youtube.com/watch?v=BbQrrJ7L_Ckshapeimage_25_link_0shapeimage_25_link_1
My performance of Godowsky’s Four Poems, from a solo piano recital I gave on August 13, 2011.
Leopold Godowsky, very famous (or perhaps infamous) for his incredible abilities as a pianist and his notoriously difficult arrangements and transcriptions, is regrettably almost complete unknown for his original compositions. His music fuses the musical styles of Chopin, Scriabin, and Rachmaninoff, whilst still possessing a unique voice. His works are absolutely delightful, containing haunting melodies, dense chromaticism, wild virtuosity, and a rather distinctive harmonic language that embraces Romanticism but never completely shies away from the sounds of the 20th century.
For more videos, please visit my YouTube channel. (www.youtube.com/johncareycomposer)
Kaikhosru Sorabji
Fantaisie Espagnole

John Carey (Piano)http://www.youtube.com/watch?v=xBdyq5lNn8khttp://www.youtube.com/watch?v=xBdyq5lNn8kshapeimage_27_link_0shapeimage_27_link_1
Sorabji remains one of the most obscure, yet infamous musical figures of the 20th century. Composing works of unparalleled length and complexity, most performers are reluctant to attempt to play his music at all, a situation which was exacerbated in Sorabji’s lifetime when (after hearing an inadequate performance of his massive piano piece Opus Clavicembalisticum) he banned all future performances of his music unless his “express permission” was obtained. Thankfully, the last 20 years have seen a dramatic shift in the amount of musicians pioneering Sorabji’s music, and finally, one of the most interesting (and brilliant) voices in 20th century music has the opportunity to be heard.
This piece is one of my favorites by the composer. Despite being an early work that differs stylistically from the majority of his music to a significant extent, it nevertheless contains some of the best elements of Sorabji's music that continued to be staples of his style for years to come: an incredibly rich and original harmonic language that defies analysis, a free and improvisatory sense of form and pacing, a tendency toward exoticism, and of course, moments of great complexity and dazzling virtuosity. It is an excellent introduction to Sorabji’s immense catalogue of works, being one of his most charming and accessible pieces.
It begins with a mysterious introduction that is quite characteristic of Sorabji's style. Then the piece takes on a dance-like character, and develops in a free, languid manner. The next section is a sultry habanera that fluctuates in intensity, leading to the third  (and most virtuosic) section, a swift and agitated dance that gradually becomes more and more complex until it erupts into an outright frenzy that is almost cacophonous.
I gave this performance in 2012 as part of a solo piano recital. Despite Sorabji's reputation for having written inaccessible music for most audiences, the piece was very well-received; many said, in fact, that it was their favorite work on the program!