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CD27​​​-​​​2 Anton Reicha 12 Trios, Op. 93

by Richard_O_Burdick

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1.
Allegro moderato 05:27
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2.
Lento 03:10
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3.
Allegro scherzando (vivo) 02:36
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4.
Andante 01:40
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5.
Allegro moderato 03:36
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6.
Allegro scherzando 01:43
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7.
CANON - Andante cantabile 01:47
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8.
Allegro vivace 01:52
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9.
MARCIA - Andante 01:28
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10.
Allegro assai 05:32
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11.
Tempo di Minuetto 03:36
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12.
FINALE - Allegro brillante 02:55
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about

Recorded with two natural horns and a Wunderlich single F horn on the bassoon or 'cello line.

Anton Reicha (1770 - 1836) was a born in Prague, ran away from home at the age of 10 to live with his uncle composer Josef Reicha. Later he attended the University of Bonn, and lived for a time in Hamburg and Vienna before settling in Paris, where he was a professor at the conservatory. His teachers were Salieri and Albrechtsberger and his most famous students include Franz Liszt, Hector Berlioz and Charles Gounod.

Being that Reicha worked at the Paris Conservatory at the same time as the virtuous hornist Dauprat these trios and his quintet, although a small part of his total out-put, are significant works for the advanced natural horn player like Dauprat.

I am not the first to record the trio’s opus 82 and some of the trio’s opus 93 have been recorded, but to my knowledge, this is the first complete recording of that set of trios. The opus 82 trios were written for three natural horns (hand horns played with the hand in the horn bell) in the same key (Eb). The trio’s opus 93 were written for two horns with cello or bassoon on the bass part. Because I was not able to find a performer in Regina who could play the bassoon or cello at low pitch (I use A= 432) I chose to record these with two natural horns and my “1880’s” Wunderlich model single F horn in the bass.

The keys are clunky and I performed these in a crossover style using natural horn technique and also some valve use. I think the horn would have been played this way during the transition to the modern valve horn style. In modern performance practice the closed notes of the hand horn are not employed except where a composer might request such, which means we lose some of the expressive colors that make the natural horn so wonderful and we lose the way the open and closed notes define the tonality.

For quite a while I felt that the covered tones of the old horn needed to be somewhat hidden, but more and more I am moving to a style that brings out these contrasting tones. By letting the tones happen, I feel I am more expressive and better in tune.

Richard O. Burdick

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released August 15, 2022

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Richard_O_Burdick regina, Saskatchewan

Richard O. Burdick is 1st horn of Regina Symphony Orchestra. prior he worked in California incl. full-time work for Sacramento Symphony.

He has performed over 200 concertos & solo recitals.

Mr. Burdick composes in styles: avant-garde, expressionist, microtonal, minimalistic, modernist, neo-classical, & new-age-meditation.

He has many CD’s of his own works, Bach, natural horn & classics. ... more

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