David Burge, piano; Lois Svard Burge, piano
Curtis Curtis-Smith's Rhapsodies uses heretofore unknown techniques for producing sounds from the instrument, including bowing of the strings. The quality of sound changes and builds from piece to piece, beginning with predominantly keyboard work in the first to inside-the-piano sounds in the fourth which sound almost electronically produced. The titles of the movements are extracts from the Sirens Chapter of Joyce's Ulysses. They are I. . . . a swift pure cry . . . II. But Wait! Low in dark middle earth. Embedded ore., III. And a call, pure, long and throbbing. Longindying call., IV. Listen! The spiked and winding cold seahorn.
About his own composition, David Burge writes:
"Sources IV was finished on March 6, 1969, in the tiny village of Munkerup, Denmark, on the sea a few dozen kilometers west of Helsingor (Elsinore). It is dedicated to the memory of Inger Strube, late wife of our good friend Fritz Strube, of Munkerup. It is the last of four instrumental works which I wrote in the sixties, each of which explores various compositional possibilities. For example, Sources III, for clarinet and percussion, utilizes theatrical elements (motion and light) in what is basically a concert work. On the other hand, Sources IV was written originally as a small but organic part of a large work for theater; however, it may be used by itself as a concert piece, its nature being abstract and non-visual.
David Chaitkin writes:
"The three Etudes (1974), though clearly contrasting, are meant to be heard as bound together harmonically, as it by a single, continuous thread. The opening etude is quite compact, combining several varied, short gestures into larger phrases, which themselves evolve, often reflecting one another. After a single melodic line emerges from the dense midpoint, the piece then closes quietly. Here and in the third etude, extremes of the piano's register and dynamics are employed. The second etude has a very slow tempo, with primary interest on lines—essentially two or three voice counterpoint. The last combines the previous slow pace with the abrupt type of gesture found in the first piece...
Joe Hudson writes:
"Reflexives for Piano and Tape, was written expressly for David Burge under a project initiated by the Cleveland Composers Guild. With Mr. Burge's virtuosity in mind, the piece quickly took on a rather improvisitory, bravura style. This approach was sustained by a more rigorous formal scheme delineated by the recurrence of various important materials at specific time-intervals...
Andrew Frank writes:
"Orpheum (Night Music I) was composed in 1970 and extensively revised during the summer of 1974. There are two other night musics: Nosferatu (Night Music II) for violin, horn and piano; and Night Music III for guitar. Orpheum was first performed by Lois Svard Burge in April, 1975, at Colorado Women's College in Denver. and the piece is dedicated to her.
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Full liner notes are accessible via the link above.
New Piano Music
| MP3/320 | $9.99 | |
| FLAC | $9.99 | |
| WAV | $9.99 | |
| CD-R | $9.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Rhapsodies: I. "A Swift Pure Cry"
Curtis Curtis-Smith
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Rhapsodies: II. "But wait! Low in Dark Middle Earth. Embedded Ore."
Curtis Curtis-Smith
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Rhapsodies: III. "And a Call, Pure, Long and Throbbing. Longindying Call."
Curtis Curtis-Smith
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Rhapsodies: IV. "Listen! The Spiked and Winding Cold Seahorn"
Curtis Curtis-Smith
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Sources IV
David Burge
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Etudes: I. First Movement
David Chaitkin
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Etudes: II. Second Movement
David Chaitkin
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Etudes: III. Third Movement
David Chaitkin
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Reflexives
Joe Hudson
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Orpheum (Night Music I)
Andrew Frank
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