Time Out Of Mind was composed in 2001. the middle piece, Elegy for Peg, was composed after my Grandmother's passing at age 99. This movement has subsequently been used in dramatic contexts (Dorothy Louise's production of The Winter's Tale and dance concerts choreographed by Julie Brodie). The outer movements of this three-movement set were both composed specifically for dancers. The central thread that permeates the work is that of time passing. In the case of the central movement, death signifies the ultimate cessation of one type of time and the generation of memories for those left behind. This movement contains a cataclysmic and shattering epiphany, and then closes down to a deafening silence at the final unison cadence. The first movement, Time Passing, Passing Time, is about the inevitable forward motion of time (its fluidity). the pianist should spin a dream-like atmosphere (achieved through rubato and liberal use of the damper pedal). Crazy Time, the frenetic third movement, should be played crisply and quite percussively sempre non rubato. It suggests the unexpected twists of fate that hurl us, sometimes unwillingly, through time.
October 15, 2003: Elizabeth Keller, pianist, choreography by Julie Brodie, Roeschel Center for the Performing Arts, Franklin & Marshall College, Lancaster, PA.
September 25, 2011: Elizabeth Keller, Barshinger Center for the Performing Arts
Recorded in 2012 by Steven Graff on Zimbel Recordings (ZR121), John Carbon: Piano Music Played by Steven Graff.