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Ricks Classical Piano CD

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Stream Samples are only 1/3 in length of the entire Musical Composition.
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The compositions Sizes & Times below give the pieces actual size & lengths;
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Album: Classical Piano
Ensemble: Ricks Band
Composer: Richard Byron Strunk		 Neo-baroque, Neo-romantic, Neo-classical, Neo-medieval, Classical Piano both Beautiful & At Times On the Edge!
 

General Info:
This CD is 1 of 6 CDs that together total over 60 musical compositions and are a representative sampling of over 800 musical compositions composed by Richard Strunk over the course of the past 3 decades (1974 - 2007). A substantial number of Rick's 800+ musical compositions are Classical pieces for solo instrumental players and include works for almost all the instruments existing within the modern symphony orchestra. There is also a large body of chamber music by Rick composed for both Classical ensembles such as String Quartets; Piano Trios etc, plus much that is written for Jazz quartets and quintets that utilize the fusing of either Pop song and/or Classical work with Jazz, as well as electronic music and some larger orchestra works too. Occasionally Rick has also written some Pop/Rock tunes through the years too. More CDs are coming soon. Enjoy!
Track Compositions Genre Time Size
Unzipped 		Year Stream
FREE
 
1
 Prelude & Fugue
(After JS Bach)		 Modern Classical Piano 4:35 5.3 MB 1996 Listen
 

Description:
Movement 5 is a Fugue; Variation (2-5-2) after J.S. Bach. This Piano Suite was made by putting together selected piano works chosen from some very large collections of Kaleidoscope-Variations that I am still in the process of finishing. The Listener can experience these movements as pieces with ‘wrong’ notes played consistently instead of some of the original notes of the pieces. This concept explores the use of unintentional notes being used in place of some of the originally intended notes(‘Wrong’ note music) and is akin to John Cage’s idea of unintentional sounds. Another way of perceiving this music is as if the original pieces had through years of disuse had fallen in to ‘ruins’ (like in architecture). Although some of the process of constructing these variations is merely changing the pieces intervalic logic these works are also composed of both the mind and heart; of both reason and intuition.
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2 12 Fragments Modern Classical Piano 11:11 12.9 MB 1974 Listen
  Description:
12 Fragments for Piano (c. 1974 - ‘78) Piano
0:42 Fragment 1 (Introduction)
A Simple tonal work in F Major with me giving my regards to Robert Schumann. Plus, a little F# thrown in at the last minute before the final chord.

1:15 Fragment 2 (Misty Dawn) Electric
After hearing about A. Schoenberg’s Pan-tonality piano & in highschool I decided to write this work that merely background rotates around the circle-of-perfect 5ths to produce electronics no particular tonal emphasis and that arbitrarily ends in ‘a’ minor. This work was used weekly for 3 years as the radio theme music for The MN Composer’s Gallery. In this rendition I chose to change all the pitches and timbres to electronic sounds for a very nice effect similar to a lavender mist of electronic sound.

1:18 Fragment 3 (Melancholy) Piano.
This work uses two different pentatonic scales bi-tonally. It is met to be a slow meditative walk through a Japanese Garden.

0:59 Fragment 4 (Sun Seen Through Pine Needles)
This work uses two sets of intervals to depict the ‘Sun’ on one hand, and ‘Pine Needles’ on the other. The sun is made up of P4ths and Ma 2nds, while the pine needles are made up of Tritones and mi 2nds. The sun explodes out from cover at the cadence.

0:33 Fragment 5 (Arch)
One of my first intervallicly non-tonal works that depicts the form of an arch musically.

1:12 Fragment 11 (In the Mountains)
Uses bi-tonal chord constructions to give a bright upper register feeling of height and solidness.
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3 How Long Blues
(After Jimmy Yancy)		 Solo 3rd-stream Piano 0:50 1.1 MB 1996 Listen
  Description:
This work focuses on integrating Classical & Jazz traditions in particular early Blues. Stylistically, it sounds very much like a Blues-Jazz, but is composed with a 12-tone methodology with its interval logic having been reconfigured wholistically from the original intervals within the piece making it a part of my series of 3rd stream compositions. All of these Kaleidoscopic pieces can be thought of also as variations on the original piece or theme.
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4 The Entertainer
(After Scott Joplin)		 Solo 3rd-stream Piano 5:40 6.6 MB 1996 Listen
  Description:
From Piano Suite No. 1
Movement 1 is a Rag Variation (10-1-10) after S. Joplin; Taken from the original Piano Suite that was made by putting together selected piano works chosen from some very large collections of Kaleidoscope-Variations that I am still in the process of finishing. The Listener can experience these movements as pieces with ‘wrong’ notes played consistently instead of some of the original notes of the pieces. This effect is especially noticeable in some sections of the Rag movement. This concept explores the use of unintentional notes being used in place of some of the originally intended notes (‘Wrong’ note music) and is akin to John Cage’s idea of unintentional sounds. Another way of perceiving this music is as if the original pieces had through years of disuse had fallen in to ‘ruins’ (like in architecture). Although some of the process of constructing these variations is merely changing the pieces intervalic logic these works are also composed of both the mind and heart; of both reason and intuition.
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5 Clusters For Bartok Modern Classical Piano 7:45 9 MB 1984 Listen
  Description:
Piano improvisation done live in the 1980's exploring bartok like percussive effects with clusters and using basic tonal materials for climaxes to good effect.
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6 Piano Suite
(7 Movements)		 Modern Classical Piano 18:05 20.8 MB 1974 - '93 Listen
 

Description:
Originally called Seven Movements For Piano (c. ‘74 - ‘96)

Movement 1 (this version c. Jan. / ‘84; Original '74)
This movement was one of my early examples of using my new kaleidoscopic music method. It is written as an Iso Rhythmic Motet with a ‘color’ and ‘tala’ for each of the 3 voices. The harmonic rhythm is controlled by this technique in the middle register, as well as, the melodic material in the lower and upper registers.

Movement 2 (c. Fall / ‘94)
This movement like all the movements in this work also uses my new method. This one has more of a 12-tone emphasis. It along with a few other of these movements was composed in area churches in dinkytown during one of the periods of homelessness I went through in the '90s.

All the movements in this work were inspired by texts from T.S. Elliot such as, “In this street there is no beginning; no peace; no movement; and no end.”

See Text
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7 In The Quiet Of The Desert Solo Classical Piano 1:35 1.9 MB 1984 Listen
 

Description:
(c. June / ‘84)
This is one of several versions of this piece. In this version the piece is a short 19th centuries Romantic tonal solo piano composition. This work was inspired by texts from T.S. Elliot such as, “In this street there is no beginning; no peace; no movement; and no end.”

See Text
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8 Invention No1
(After JS Bach)		 Solo 3rd-stream Piano 1:15 1.6 MB 1996 Listen
  Description:
One of the most Fun compositions I ever wrote. It is a terrific syncopated kaleidoscopic version of JS Bach's 1st 2-part Invention. It is incredibly likeable and will make most smile and possibly laugh in delight!
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9 12 Lullabies For Jessica Solo Classical Piano 19:58 22.9 MB 1984 Listen
  Description:
(c. 1984ish)
A set of 12 lullaby’s for Jessica composed in the early ‘80s in memory for a baby and her parents who were murdered. The criminals were caught and later convicted. A 6 month old baby and 2 wonderful people lost their lives and these lullaby’s were written in memorial to them. These simple pieces denote beauty and peace tinged with sadness for their sake. Although the harmonies are of the traditional tonal-modal system all progressions are actually derived using 12-tone kaleidoscopic methods. They may be the most accessible 12-tone music yet written.
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10 Sound Asleep
(After M. Clementi)		 Modern Classical Piano 7:41 8.9 MB 1996 Listen
  Description:
Kaleidoscopic Variation
After Sonatina 3; op. 36 by M. Clementi
The steady classical rhythms slightly staggered (syncopated) and slightly diatonic dissonant pitches articulated with a soft crystal like timbre plus the stylistic coherence of Clementi’s sonatinas (practiced by most every pianist in their youth) all contribute to a soothing, reassuring, sleeplike feeling and sense. The intervalic mutation selected for this variation also adds to this feeling of accord and with the diatonic soft dissonance suggest the sleeper is involved with activity beyond what we are readily aware. Perhaps as we watch the sleeper fast asleep apparently oblivious to the outer world he/she is actively engaged in dreaming. The form of this work is sonata-allegro (exposition / development / recapitulation) and the work is set in 3 sections fast / slow / fast. Repeats are used in the 1st and 2nd sections.
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