Into the Light is available Friday, September 26, 2025
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Into the Light: Concerti for Clarinet, Violin, and Cello, by David Carovillano, features the sublime clarinet concerto, The Soul Awakens, the adventurous and daring cello concerto, From the Ashes, the “sound fantasy” concertino for violin, Perpetual Light, and the virtuosic modern flair of Transcendent for violin and orchestra.
Track Listing:
1) Transcendent for Violin and Orchestra
2) The Soul Awakens for Clarinet and Orchestra, Mvt. 1
3) The Soul Awakens for Clarinet and Orchestra, Mvt. 2
4) The Soul Awakens for Clarinet and Orchestra, Mvt. 3
5) Perpetual Light for Violin and Orchestra
6) From the Ashes for Cello and Orchestra, Mvt. 1
7) From the Ashes for Cello and Orchestra, Mvt. 2
8) From the Ashes for Cello and Orchestra, Mvts. 3 & 4
What others are saying about The Soul Awakens:
“If Ralph Vaughan-Williams and Mahler had a love child… This movement is so delightfully dense with musical wit and whimsy – and humanity. Keep up the great work!” Baumel
“Very nice! I really enjoyed that. The start of each movement suggests you’re going off in a different direction, but then you always come back to the genre you started in. Especially in the third movement do I see that most strongly, where the start seems Stravinski-inspired. I loved that opening of the third movement!” TiceTunes composer
“2nd listen at 5 in the morning… I’m not hearing Stravinsky as much as I’m hearing Copland on the 2nd movement… Same kind of heartfelt, serene beauty as his clarinet concerto… It’s really beautiful man! I hope it gets played, I would definitely have this in my collection if someone proper did a recording of it… ” Bollen
“This is a very accomplished piece of music. The textures, the composition, the clarinet part were top-notch. I liked the second part, where the long notes (on the strings) play the harmony, and clarinet dances around them playfully. I pictured a meadow with a girl gathering flowers and dancing to the wind.” Crusoe
“Listening to it, one understand you know something about composing, but production as well. Impressive work.” Fatis
“There where some lovely moments and interesting scoring…It sounded remarkably English in places too for some reason.
The 2nd mvt. had a more continuous feel for me and was better for it. I felt it had a nice emotional arc – very beautiful in many places with a nice restraint in the harmony and scoring that didn’t make it cloying. Nice to hear too that it had more quirky moments.
The 3rd is the best for me with some lovely contrasted writing and bitey (is that a word?), Poulenc/Stravinsky-ish ideas. I loved the cycle of 5ths that popped up. This mvt. worked best imo because there was a more obvious, consistent, prolonged musical thought process in play, which helped comprehension even on a first listen.” M. Hewer
“With each subsequent audition the structure and development of the tune reveals itself. It is an exquisite work, easily the best thing of yours that I’ve heard. The word mercurial comes to mind…probably because it makes me think of Mercury from The Planets. This is not just a work of skill, there is obviously love in this thing. I cannot say anything better than that.” T. Champe
“I was overwhelmed by the first listen because of the musical content. The three parts show another soul, a different spirit in a most creative way. Without leaving the basic style, you managed to create in the movements a different ambience in which the clarinet plays an important part. It shows how you master the instrument in its technical abilities, without getting too cerebral. Everything remains listenable and musical, a great achievement in a piece of that scale. The second listen confirmed my first impression and proves your musical freedom: not lead by one particular style or way of writing, tied to one or other composer or teacher.” J. Wylin
About From the Ashes:
From the Ashes is a Cello Concerto in 4 movements. This powerful, dramatic work instantly grabs attention as the solo cello integrates with the orchestra right from the start, avoiding the common “double exposition”. Virtuosic passages highlight the capabilities of the cello, while intensity gives way to playfulness in the dance-like sections. The second movement features a haunting theme in the cello against a backdrop of major/minor pizzicato arpeggios in the low strings. The third movement is a solo cello cadenza that further develops material from the first movement and demonstrates full on bravura technique. It leads as a direct attacca into the fourth movement, the first and only one in a major key, symbolizing the hope and optimism as the cello has risen from the ashes of despair into the light. The piece leads to its climactic conclusion and ends almost abruptly/unexpectedly.
What others are saying about From the Ashes:
“I listened and it sounds great! Really well-developed piece, consistent interest throughout a really large expanse (not easy to do!), and a huge amount of variety and expression in the cello part writing. That cello has a lot of espressivo and is so well done. In general, it’s weird in a way for me to try and criticize because you are working in your area of art fluently and skillfully, and are beyond my telling you how to do anything. You either know or figure it out on your own in the world that you are carving out with your work. I am so impressed and know each piece you do will be another fascinating one.” W. Kersten
“…(I’ve listened) to your wonderful concerto a number of times. It is a remarkable work; unlike anything else of yours that I know…At first I was put off by the soloist busting straight into the tune without so much as a by-your-leave. But it actually grew on me with subsequent hearings. The first movement is really arresting and solid. I think a strong, aggressive soloist could really grab an audience with it.
I think your use of woodwinds is great throughout, adding color and flash. They never take focus off the cello, they add to it’s brilliance. I especially like the idea of a 3rd movement/ cadenza intro/partita for solo cello. Fantastic! The soloist gets to cut loose with the kitchen sink, right in the spotlight. Those multi-stops…wow! Terrific!…No matter who plays it, they’ll have to bring their A game to outdo your MIDI on this thing. The orchestra is good but you really outdid yourself on the solo. Bravo!” T. Champe
“Very beautiful, especially the haunting second part! The cello part is a very trying one, a challenge for every player. Hopefully it grabs one’s attention… Bravissimo!” J. Wylin
“Your best work yet!” K. O. Edwards
“The composition and performance are absolutely amazing. I like that the mix is not drowned in reverb, but keeps a very natural direct sound. Great work!” Stefan Telser
“Dave – hope you get a live performance of this, because the cellist would give a very active show. It evokes Spain to me for some reason.” “Black Dorito” from V.I. Control
“Excellent! Very accomplished piece. And very enjoyable to listen to. Looking forward to hearing the rest.” “Ifness” from V.I. Control