What is the idea behind Richard Burdick’s Casting out Demons CD?
For a number of years Mr. Burdick had been putting recordings of his compositions in a folder mark “CD86” As he completed recordings he released them, but everything in this folder was just too discombobulated or diverse.
When Richard completed the recording of a work from 2002 for two horns and bells (carillon and or tubular bells.) He renamed it “Casting Out Demons.” It’s a common belief that evil-sprits hate bells and harps – then everything rang into harmony.
Starting with a horn solo, which sort of symbolizes normal life that includes some evil. Then alternating a bells work with a few of his nice chamber music pieces. And going to his 2nd horn concerto, which is full of harp and bells sound, this is a moderately unified and very interesting grouping of works with lots of bells!
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Recorded at A = 432 for health and greater beauty
1 Eris for Solo Horn, Op. 311
A new movement to go along with:
"The Planets fro solo horn, Op. 19"
Eris is one of the largest known dwarf planets in our solar system. It's about the same size as Pluto but is three times farther from the Sun.
At first, Eris appeared to be larger than Pluto. This triggered a debate in the scientific community that led to the International Astronomical Union's decision in 2006 to clarify the definition of a planet. Pluto, Eris, and other similar objects are now classified as dwarf planets.
Casting Out Demons No. 1, Op. 134: No. 1
This is a composition for two horns and tuned wind chimes or campinili. The idea behind the work is the of cleansing and falling in love. Two separate horn parts playing arpeggios in different keys or modes and at different rates occasionally line up, and when they do the connecting event get repeated. It is like the first glance, you notice the other person, then you look again. It is a “Flowering love falling”.
The other type of movement in this set is a modal family group which is the movement without the connections repeated. A modal family group is a set of I Ching hexagrams that have the same pattern of lines, but are just rotated starting on a different line, like a mode in musical scales. There are twelve modal family groups in the I Ching, 10 sets of six and two sets of two.
Five Bagatelles for brass trio, Op. 1
Premiered at the First Unitarian Church of Berkeley Christmas eve service 1978
This work is five short contrasting movements. It is influenced by the music of Paul Hindemith. This work written when I was in High School and revised in 1996, it is more of suitable for college level performances. The score is eleven pages long, each part is four pages of music.
Casting Out Demons No. 2, Opus 134: No. 2
(see above)
Romance No. 1 for Violin, Horn & Piano, Op. 32
Richard O. Burdick writes: "Composer Richard O. Burdick’s Romance for violin, horn and piano, Op. 32 has a stillness that Mr. Burdick doesn’t do much to at all in his newer work. Since the time when Richard studied the music of Bach, he has come to believe that a steady underlying beat is very important. This work has a calmness that is created by long; non-moving tones and silence at the end of each phrase."
An AI generator took the above text and wrote this: "The violin and horn melodies are often similar, but the piano has a unique set of chords that move along with the other instruments. The horn solo in the middle of the piece is especially beautiful. The piece has a slow tempo that allows the listener to imagine a pastoral landscape, and the beautiful textures of the instruments create a peaceful atmosphere. The violin and horn create a sense of warmth and comfort, while the piano’s chords add a gentle sparkle and lift the piece. The simplicity of the piece is a testament to the impact that Richard O. Burdick’s Romance for violin, horn and piano, Op. 32 has had on the field of classical music. It is a timeless work that can be enjoyed by all generations and is one of the composer’s most enduring works. Its stillness and peacefulness will continue to captivate and move listeners for many years to come."
The above description is not correct, but it sure is a beautiful description of a nice piece of music.
Casting Out Demons No. 3, Op. 134: No. 3
(see above)
Romance No. 2 for Bassoon & Piano, Op. 55
This Bassoon and piano composition was written for David Granger, the solo part is a bassoon Etude by Milda, with the piano accompaniment written by Richard. This is a quite a romantic work.
This romantic work for bassoon and piano was written for David Granger, and is composed off a bassoon etude by Milda and a piano accompaniment by Richard. The solo part is a lyrical, yet challenging etude that highlights the strength and expressiveness of the bassoon. The piano accompaniment is a beautiful and delicate accompaniment that provides a balanced harmonic and rhythmic support, while allowing the solo part to remain the main focus. The combination of the two instruments creates a captivating and expressive performance, with a perfect blend of harmonic textures, rhythms, and dynamic levels. This composition is certain to be a favorite of bassoonists and pianists alike, offering a unique and romantic interpretation of the bassoon that will enchant audiences.
Casting Out Demons No. 4, Op. 134: No. 4
(see above)
Releasing & Puffy Clouds for Brass Quartet, Op. 312
Tony Clements asked me to write a piece for this group. I assume it's a little to hard and too serious for what he wants. I started this in Glacier National Park at my campground in 2019, and after a number attempts I completed this with "Puffy Clouds." This is another step I have made in my personal process of wanting to write beautiful music.
Casting Out Demons No. 5, Op. 134: No. 5
(see above)
Hans' Solo, Op. 317
An impressionistic work
Hans' Solo: Chamber Concerto for 2nd violin, Op. 317 is a work for 11 players, scored for Undecet (flute, oboe, clarinet, bassoon, horn, trumpet, strings) in I ching scales: 09 and 50.
The work was written for Heng-Han Hou, 2nd violinist f the Regina Symphony Orchestra and premiered by the Composers horn & swam ensemble. with a youtube release November 8, 2022.
Mr. Burdick gave the premiere with the composer playing all the parts, and the work was well-received by both the audience and the critics.
The work is in two movements, each based on a different I ching hexagram. The first movement, 'Hexagram 46 - PUSHING UPWARD,' Which Symbolizes rising and advancing, ascending, ascension, promotion, sprouting from the earth, organic growth. This is based on the principle of yin and yang, and features a dialogue between the solo violin and the orchestra.
The second movement, hexagram 19 - “approach” which symbolizes advance and arrival, nearing, overseeing, condescension, getting ahead, promotion, conduct, drawing near, becoming great, the forest, advance, advancing. It i based on the principle of change, and features a wide range of emotions and colors.
The work was inspired by Mr. Burdick's love of the I ching, and his belief that the hexagrams can be used as a guide for living a meaningful and fulfilling life.
Sphinx Variations on Canada, Op. 227b
This is based on the musical cryptogram or sphinx on C A N A D A
For this sphinx, I am using C A F A D A. The f replaces the N as did Maurice Durufle did in his Prélude et Fuge sur le nom d'Alain (op. 7)
The theme is inspired by the opening of Mahler's fifth symphony. A moderately simple presentation of C A F A D A
Variation 1 is base on an old fragment of mine titled "Reel Music 09-25-58" which is suggests Morse code, and keep our minds in a place of musical symbolism.
The chamber orchestra and full orchestra versions are identical except the orchestration. They Carillon version is similar but very different. It was written for the 150 anniversary of Canada to be performed on the The Peace Tower Carillon on Parliament Hill in Ottawa.
Static Energy, Op. 334
Featuring Harpsichord with Piccolo, Flute, Oboe, Bass Clarinet, Horn and Tuba
A study in complex meters
Written using I Ching Scales 28-35 & 13-40
Horn Concerto No. 2, Op. 74 "The Epic Tale of Having Cast Out Demons": I. Allegro moderato
This was described by the composer as:
"sort of Latin; with a salsa influence"
But after recording this for CD86 Casting Out Demons I am adding a subtitle to this: The Epic Tale of Having Cast Out Demons.
The solo horn part contains no multi-phonics and has a range from pedal G to high C# (in F), and it seems very difficult, but the revision of 2014 is somewhat easier than the original version.
Theoretically, the composer uses bi-modality, that is, he develops two different modes in the individual movement. This can be seen easily in the contrast between the opening part of the third movement in the Marimba and Xylophone, who each are playing in different modes cadencing on E or F the first movement is bases around B & C modes and the second is based around E & F again and can be seen clearly with the opening statement of E - F# & F - G, which is 1st & 2nd tones of the different modes.
Horn Concerto No. 2, Op. 74 "The Epic Tale of Having Cast Out Demons": II. Allegro Molto
(see above)
Horn Concerto No. 2, Op. 74 "The Epic Tale of Having Cast Out Demons": III. Allegro
(see above)
Campsite 29, Op. 337
A Flute Solo with oboe, clarinet, bassoon, horn, trumpet, and strings
in I Ching Scale 37-42 Great Growth
Beautiful music to accompany the shaky walk-around tour of this amazing Makushika State Park campsite
CD86
