The musical compositions of Richard Burdick
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Opus 84
Khrushchev Portrait
for Narrator, English horn, bass clarinet
and two chamber orchestras (time)
Summer 1994
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Khrushchev Portrait for Narrator, English horn, Bass clarinet and two chamber orchestras, opus 84, was written during the Summer of 1994. This work was not a commission nor do I have any orchestra in mind for the performance. It is a work I had wanted to write for quite a while. I purposely waited for the summer off from my Symphony to begin such a large work. I expect the first audio version will be a computer with the three live soloists version.
My main reasons for writing it are 1) the text shows, if honest, Khrushchev's peaceful intentions, his concern for international law and his willingness to comply to it, and his concern for the world. A view of him we don't often get. 2) The text suits my composition style, 3) It was a welcome change not to concern myself with structure, since it is inherent in the text. 3) I haven't written for a large ensemble in quite a while, 5) I feel I finally know all the instruments (except Roto-toms) well. 6) I like the piece Coming Together with a text from a prisoner at Attica Prison by a composer I forget, and I like the piece by John Adams with orchestra accompanying a recording of a late night talk show host. I feel my work is a companion to those. 7) I thought maybe this might do a little for world peace. To emphasis the peaceful and non-offensive reasoning for what Khrushchev had done. Which may be lost in our version of history, since history is usually told from the side of the victors.
Formalistically I am also proud of this work. My notes have been included at the end of the work. As usual I began with a random throw of coins to get two I ching Hexagram. From that I also used the inverse and assigned one pair to each orchestra as symbolic of Khrushchev and Kennedy. The hexagrams then suggest scales with whole steps and half steps. Years ago I assigned fixed tonics to all 64 hexagrams, with somewhat mystical reasoning to which I adhere. From the interrelationship of the common and uncommon tones of the scales the melodies are created. As the work progresses, rhythm patterns based on the rhythm of the text emerge and repetition of words is mirrored in repetition of instrumental sounds and patterns, with key words such as: I, me, we, you, war, Cuba, peace, military man, Mr. President, etc. Rhythmically the ratio 9: 13 is predominant.
During this period I also was involved in reading Dynamic Dissonance in nature and the arts by Louis Danz, which was rather long and difficult with many obscure literary references. Danz's praise of Schonberg did inspire me to work in the twelve tone form. So, in this work, the melodies evolve together into a unified row, which then bifurcates and then breaks down before the recapitulation. The work that followed this The Waltz for orchestra, also a twelve tone work in which I used a chromatic scale as my row is a companion piece for my Khrushchev portrait, The Waltz would be a suitable overture or postlude, with a Mozart horn concerto on the program to balance the weight of my Khrushchev Portrait.
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