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By FRANCES BISHOPP
Rappahannock Ncwi Staff Writer
His favorite composer, Ludwig Beethoven, would certainly “roll over^as the popular song goes, if he could see Rappahannock composer, Carl Coon, at work.
Tucked away in his studio in the woods, a few yards from his home, Mr. Coon, writes his music on a Macintosh computer. Modern technology merges with - the creative process and the result is a written score that is can be either played on the two synthesizers that are connected to the computer or actually printed out in written form.
“These synthesizers are pretty good at replicating various instruments,” said Mr. Coon, who also uses an electric piano,'which is wired into the synthesizers and sound system, to “help verify what my head is doing.”
Mr. Coon’s lifetime passion for music is culminating on Sept. 5 at The Theatre in Washington, where his concert, Rappahannock Variations, String Quartet 1988/89 and other pieces will be played by by live performers, the Sunrise Quartet, Trapezoid and guest artists Lora Ferguson on clarinet, John McGuinn on piano and soprano Lisa Johnson.
While his music is composed in the western classical tradition, Mr. Coon has written many of his compositions inspired by his friends and the instruments they play, such as vTwo Studies for Two Harps” and “For Joyce: Study for Two Alto Recorders.”
' He also intellects his acute sense of humor into his music through such compositions as “Limerick” which contrasts human and electronic mu$ic.
“Rappahannock Variations: Trio for Clarinet, Cello and Piano” was written orginially in 1990 designed for the piano, four hands. According to Mr. Coon, it relies on counterpoint more than harmony and uses'three ax' four different pentatonic scales.
Mr. Coon describes “String Quartet 1988/89” as his most series work to date. “The quartet’s structure can best be described in terms of psychological stages an individual goes through after receiving sudden and devastating news.initial shock is followed by acute pain and grief tinged with passing shades of anger and denial,” explained Mr. Coon.
Mr. Coon’s music has been greatly influenced by, first of all, Ludwig Beethoven and Alan Hovhaness, an Armenian-American composer, whose music, said Mr. Coon, pioneeered the incorporation of nonwestern structures into a classical western musical framework.
Also playing a part in Mr, Coon’s musical history has been Rappahan
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