Carlos Gamboa is a composer living in Clovis, California. Carlos earned his Bachelor’s degree in Music Composition at California State University, Fresno studying under Dr. Kenneth D. Froelich.
In 2009, Carlos had the opportunity to have a reading session with the Empyrean Ensemble from UC Davis. He has had works such as The Bells (2010) and Fanfare for Brass and Percussion (2010) premiered by the Fresno State music department as well. Carlos has also had his work, Whirlpool (2010), performed by world famous concert pianist Halida Dinova during a piano masterclass held at CSU Fresno in March 2011.
Carlos’s opera premiere to was the world premiere of opera, Mother, Please (2010) with libretto by soubrette coloratura soprano Sharon Rogers. This collaborative project was premiered by the CSU Fresno Opera Theatre program.
On May 4th 2012, Carlos received a performance of his orchestral work, Innocence Corrupted. It was performed by the CSU Fresno orchestra under the direction of Dr. Thomas Loewenheim.
Carlos Gamboa has written works for solo voice and piano, sax quartet, solo violin, solo piano, brass and percussion, SATB choir with accompaniment, and much more.
Carlos's work, Rambling of a Social Network, will be performed at Catholic University of America for A
Festival of New Vocal Music in January, 2013.
List of Works:
Mousetrap (2008) for Saxophone Quartet
The Bells (2010) for Soprano, Piano, and Percussion
Text by Edgar Allen Poe
Fanfare for Brass & Percussion (2010) for Brass, Percussion and Timpani
Crystalline (2010) for SATB Choir, Violin, and Piano
Text by Carlos Gamboa, Kristen Krikorian, and Patrick Martin
Whirlpool (2010) for Solo Piano
Mother, Please (2010) an Opera for 2 Sopranos, 1 Mezzo-Soprano, 1 Tenor and 1 Baritone
Libretto by Sharon Rogers
Three Pieces for Solo Violin (2010) - Work in Progress
Calamitous Chapter (2011) a sonata for Flute, Violin, and Piano
Ramblings of a Social Network (2011) for Soprano and Piano
Text by Elisa Moles, Kristen Krikorian, Ashlea Sheridan, and Kenneth Froelich
Innocence Corrupted (2011 - 2012) for Orchestra
Quintet (2012) for Soubrette Coloratura and String Quartet
Sing Me a Song (2012) for Lyric Soprano, Flute and Piano
Feel free to reach me at my e-mail if you wish to see my works.
In progress: Bugger (Short Opera for flutist/soprano), Opera TBA, & Old Love and New (Song for Soprano and Piano)
Innocence Corrupted encompasses the idea of change within tonality as a metaphor for how minds becomes corrupted over time. Corruption occurs within a community whether it be through pressure, politics, motivation, curiousity and a vast variety of factors. These elements take an individual's mind and directs it towards a dark, sinister path. The piece illustrates this idea by introducing melodic motives that flow over a soothing, yet driving string and piano accompaniment. As the busyness dies down within the entire orchestra, solo instruments are left to develop these motives and leave the initial tonality set in the introduction. The exploration of different tonalities is the first step into a gradual transformation of tonality over the course of three sections. These larger three sections have characteristics of innocence, warped curiousity, and corruption that all derive off of each other and create an overall variations form.
This orchestral work was heavily inspired by the work of Igor Stravinsky, Claude Debussy, and Hector Berlioz borrowing language from orchestral works Petrushka, The Rite of Spring and La Mer for portraying changes in the texture. The concept of central, corrupting melodies comes from the use of idée fixe (fixation) in Berlioz's Symphonie Fantastique. Moreso, the work was inspired by an interest in psychology of the human mind. The idea of variations felt best for portraying motivic elements in several moods, each one more corrupt than the last.
Innocence Corrupted was composed for the Fresno State Symphony Orchestra under the direction of Dr. Thomas Loewenheim.
Orchestra: Fresno State Symphony Orchestra
Conductor: Thomas Loewenheim
Ramblings of a Social Network
Ramblings of a Social Network (2011) is a song cycle about the
everyday lives of my friends and professors who share about their lives through
status updates on online social networks. This song cycle takes some of their
amusing statuses from Facebook.com and illustrates them in a musical setting
portraying their personalities and moods. For greater “LOL”s as they say on the
Internet, the singer mimics the physical habits of the actual individuals to fully
capture their persona. This work was a collaborative effort with pianist Michael
Krikorian, who greatly aided in composing the piano parts for Forever Alone, &
I. Fruit Fly (MP3 excerpt) – A fruit fly committed suicide on my spaghetti sauce. // AAAAAAAAAAARRRRRRRGGGGGGGGGHHHH // Poor Bugger. – Elisa Moles
II. Forever Alone – You know how in yearbooks people vote for someone to be most likely to become the president and stuff? Well, for the first time I actually won one. I was voted most likely to be “Forever Alone.” – Kristen Krikorian
III. R2-D2™ -- I had a dream that I adopted a parrot and he had a message to deliver like R2-D2™ from a New Hope.™ What the heck do they put in Theraflu?! ™ -- Ashlea Sheridan
IV. Football Game – So, I heard there is a football game [Ah ha ha ha!]. Or maybe futbol? Or something along those lines going on right now. Based upon the sheer amount of media covering this game I guess I should care about it. Except I don’t [Ah ha ha ha!]. Not one bit [Ah ha ha ha!]. Does that make me anti-American? Anti-football? Anti-Wisconsin or Pennsylvania? Or something entirely different? I’ve put too much thought into this [Ah ha ha ha!]. – Kenneth Froelich
Soprano: Sharon Rogers
Pianist: Michael Krikorian
This piece is also featured on
Ann Moss's (CMASH) blog as well as pianist Guy Livingston's Audio Page
Mother, Please (2010) is a one act opera that tells the tale of two
daughters (Erika & Christina) who wish to date the men (Leroy & Mark) they love.
However, they face the obstacle of their bitter mother (Josephina) who disapproves
of any man that would dare to get close. She tests the men in three trials, eventually
realizing that she must let her daughters free to experience their own happiness.
The opera is written for two sopranos, one mezzo-soprano, one tenor and one
baritone... as well as a silent actor that plays a cow. While the opera is generally a
comedy, it contains valuable meanings about the nature of family.
The libretto was written by soprano
Sharon Rogers who based the plot on her mother’s own experience with her daughter’s marriage. Many of the plot’s events are cleverly drawn from Sharon’s own life, including a scene that focuses on a riddle told during dinner with her family. To Sharon, this is a personal story that was derived from her heart and it was my job to compose music that was suitable to match its delicacy.
The two collaborated in the summer of 2010 to write and compose a 20
minute opera to be premiered in the fall. However, as time passed, the opera
developed into a 40-minute opera production. Sharon and her family even built a
set from scratch. Once the semester started, the duo were tasked with producing,
premiering, and directing (not to mention Sharon had to perform as well) the opera
with the guidance of Fresno State’s staff accompanist, Hatem Nadim, and Fresno
State Opera Theatre’s director, Dr. Anthony Radford. This opera marked the first
time that students at Fresno State had collaborated to write, compose, and direct an
opera in Fresno State’s history, and was honored by being buried in Fresno State’s
Centennial Time Capsule.
Scenes featured on site:
-- Scene 1 (PDF only) – The Plan: Erika and Christina work a plan to confidently ask
their mother to date the men. Erika is overly anxious.
-- Scene 3 (PDF and MP3) – Courage and Panic: Leroy & Mark discuss about Erika and
Christina’s mother. Mark is confident, but Leroy is in a state of panic due
to Erika’s exaggerations of what her mother does to unworthy men.
Note: The excerpts are taken from a woodwind quintet arrangement of the opera; the original score contains solely piano accompaniment.
Erika: Sharon Rogers
Christina: Valerie Salcedo Mark: Rene Ponce Leroy: Joshua Bear Flute: Rebecca Carlton Oboe: Heidi Butterfield Clarinet: Diego Zarate Horn: Bradley Rutledge Bassoon: Ashlea Sheridan
Calamitous Chapter (2011) resulted from an angry outburst of
frustration. After a period of extreme depression and being unable to compose, I
went to my piano and played violent arpeggios. Finding satisfaction in this sound, I
chose the other two instruments for their ability to screech at the higher ranges. As
a result, I decided the piece would be a sonata for a flute, violin and piano trio.
The first theme represents violent, uncontrolled outbursts in all three
instruments. The second theme contrasts with a canon in the flute and violin,
repeating one central thought. The piece briefly unites in a key before the
aforementioned outbursts reoccur in the recapitulation. Through expressing these
emotions through the sonata form, I express musically what has been bottled up in
Flute: Cassandra Barnes
Violin: Erin Scofield Piano: Jordan Williams