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UBC Theses and Dissertations

Compositions Ritter, Martin 2009

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COMPOSITIONS by Martin Ritter B.Mus., University of British Columbia, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in (Composition) THE FACULTY OF GRADUATE STUDIES THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2009 © Martin Ritter, 2009 ABSTRACT This thesis consist of six original compositions, which were performed on Feb. 7, 08; April 1608; March 21, 09; April 13, 08; Sept. 26, 08; April 7, 09. The total duration of the works is approximately 50 minutes. The compositions are: Annabel Lee Na Krstu Sam Te Nasao Summer’s Day Winder’s Night Breathless Fall Fanfare Say What? H TABLE OF CONTENTS Abstract.ii Table of Contents iii 1 Annabel Lee 1 2 NA KRSTU SAM TE NAAO 15 3 Summer’s Day Winter’s Night 31 4 Breathless 63 5 FaIl Fanfare 81 6 Say What 90 ‘IT Annabel Lee Poetry by Edgar Allan Poe Set for a cappella SSAA by Martin Ritter 1 Annabe Lee Edgar Allan Poe It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; — And this maiden she lived with no other thought Than to love and be loved by me. I was a child and she was a child, In this kingdom by the sea; But we loved with a love that was more than love — 1 and my Annabel Lee — With a love that the winged seraphs of Heaven Coveted her and me. And this was the reason that, long ago, In this kingdom by the sea, A wind blew out of a cloud, chilling My beautiful Annabel Lee; So that her high-born kinsmen came And bore her away from me, To shut her up in a sepulcher, In this kingdom by the sea. The angels, not half so happy in Heaven, Went envying her and me — Yes! — that was the reason (as all men know, In this kingdom by the sea) That the wind came out of the cloud by night, Chilling and killing my Annabel Lee. But our love it was stronger by for than the love Of those who were older than we — Of many far wiser than we — And neither the angels in Heaven above, Nor the demons down under the sea, Can ever dissever my soul from the soul Of the beautiful Annabel Lee: — For the moon never beams, without bringing my dreams Of the beautiful Annabel Lee; And the stars never rise, but I feel the bright eyes Of the beautiful Annabel Lee: — And so, all the night-tide, I lie down by the side Of my darling — my darling — my life and my bride, In her sepulcher there by the sea — In her tomb by the sounding sea. 2 l’3 C I— rT l C ) (p (p eC Ct Ct C Ct Ct C C 0 yr ‘I A y $ V V V V 1 — ( ‘V (3 ’ 0) C en C e 0 Ct C Ce A H y Ce \/  I VI v , VI v , VI v , VI V ! V V V V V4 v v4 V V z - I “ I (. en 0 0 0 . 0 0 0 0 > 0 0 9 0 0 0 0 It >-, 0. 0 0 0 0 It V - - 1/ co V V V V C) C) > 0 C) C) A  (b r’3 c) > Ct NA KRSTU SAM TE NAASA 0 (On the cross I have found you) Poetry by Zelimir Jeremy Petrovié Set for SSAA and Solo Cello By Martin Ritter 15 NA KRSTU SAM TENAAO By Zelimir Jeremy Petroviã Na krstu sam te naao, razapetu izmedju krajeva sveta, zakucanu ekiéem greha, prikovanu klinima razoéarenja, izmedju olovnog neba i pakiene zemije. Na krstu sam te naao, uzdah pre zadnjeg izdisaja, zvuk pre zadnjeg otkucaja, zrak pre zadnje misli, izmedju nesvesnog rodjenja i hitajuée smrti. Na krstu sam te naao, konfuznu od bola, u komi od patnje, krvavu od udaraca, uskomeanog tela i slomijenog uma. Na krstu sam te naao, zgrenog lica od napinjanja, napetih usana od borbe, izlomljenog vrata od napora, i pozvao te da sidje. Na krstu sam te naao, posle godina traganja, nakon vekova gonjenja, iza veënosti lutanja, pruio ti ruku spasenja. I ti opet neãe. A do krsta si dola. ON THE CROSS I HAVE FOUND YOU Translation by Andrea Kuburiá On the cross I have found you. Crucified between the edges of the world, Pinned with nails of disappointment, Between leaden sky and anguished earth. On the cross I have found you. One moment before the last gasp An echo before the last beat One beam before the last thought Between unaware birth and hasty death. On the cross I have found you. Confused from the pain, In a coma from suffering, Bloodstained by strikes With stirred body and broken mind. On the cross I have found you. With face tense from the labor, Uptight lips from the fight, Broken neck from the struggle — And I called you to come down. On the cross I have found you. After years of searching, Centuries of persecution; Behind an eternity of wonder, I offered you a hand in salvation. An again, you rejected it Even though you’ve reached the cross. 16 Guide to pronunciation: = sh as in “ship” = no English equivalent; “mixed sound” between the “ch” of “check” and the “t’ (actually “ty’) of British English “tune” a = ch as in “change” = zh as in “pleasure” or “Zhivago” dj = as in “James” nj = ny as in “new” or the Spanish ñ lj = a clear “1’ followed by a short “y”-sound —j = “y” as in “yesterday” “h” is always sounded “r” is flipped, not rolled, with a single flap of the tongue against the upper gum 17 ci ) ci ) C) CD 0 0) (1) o o 0 - o D 0 0 - ‘ r\) — CD DC S . . CD p r’ ) CD > 9) 9) T\ ) - r\) 9 p j\) 9) F’) 9) A Y - - - n O O < O S ( OS OS Os Os (p (p ( (p B B B B q (P (P (P (P F(( Y EC S t L o C C C p ci , çi - ci) I) p r\) - ( A I. l! < PZ A A A . 1 1 S. S. S. ( Y( V (V !< }! S i, .’ 1 c ) I 0< 0< , <S <S 5 < < , S p 1 < j < j 1< “ 3 C > ci) p ci) r\) - “ 3 9) 9) I’) p 9) 9) r\) F’ ) p > y t’ 3 () p ci) p ci) F”) A V Içi 9 r’. ) r) 9) 9 > 9) 9) 0 F.) p I) F.) > p F.) Cl ) F.) z I A (A I’ ) 0) > r\) > ci , c i’ p p ci) 0( ci) çi t) - ‘ e C, V ci) - ci) A y - l • — — — — , tz C , 0 0 0 0 < i e < , C) C) I . 4 . Q _ 0. 0. c - 0 0 0 , 0 o / o I ‘I t r c ‘I F\ ) — 4 N ) > 9) c) F’ ) F’ ) çi 9) F’ ) F’ ) - (0 I’) r’) - 9 > ci) p C, > r” ) - I I )E D 0 (; C ) C C o S u m m e r ’ s D a y W i n t e r ’ s N i g h t F o r a c a p p e l l a c h o i r T e x t s b y W i l l i a m S h a k e s p e a r e a n d W i l l i a m B a r n e s M u s i c b y M a r t i n R i t t e r C ’ , S u m m e r ’ s D a y W i n t e r ’ s N i g h t W . S h a k e s p e a r e W . B a r n e s S h a l l I c o m p a r e t h e e t o a s u m m e r ’ s d a y ? T h o u a r t m o r e l o v e l y a n d m o r e t e m p e r a t e : R o u g h w i n d s d o s h a k e t h e d a r l i n g b u d s o f M a y , A n d s u m m e r ’ s l e a s e h a t h a l l t o o s h o r t a d a t e : I t w a s a c h i l l y w i n t e r ’ s n i g h t ; A n d f r o s t w a s g l i t t ’ r i n g o n t h e g r o u n d , A n d e v e n i n g s t a r s w e r e t w i n k l i n g b r i g h t ; A n d f r o m t h e g l o o m y p l a i n a r o u n d C a m e n o s o u n d , S o m e t i m e t o o h o t t h e e y e o f h e a v e n s h i n e s , A n d o f t e n i s h i s g o l d c o m p l e x i o n d i m m ’ d ; A n d e v e r y f a i r f r o m f a i r s o m e t i m e d e c l i n e s , B y c h a n c e , o r n a t u r e ’ s c h a n g i n g c o u r s e , u n t r i m m ’ d ; B u t w h e r e , w i t h i n t h e w o o d - g i r t t o w ’ r , T h e c h u r c h b e l l s l o w l y s t r u c k t h e h o u r , A s i f t h a t a l l o f h u m a n b i r t h H a d r i s e n t o t h e f i n a l d a y , A n d s o a r i n g f r o m t h e w o r n o u t e a r t h W e r e c a l l e d i n h u r r y a n d d i s m a y , F a r a w a y ; B u t t h y e t e r n a l s u m m e r s h a l l n o t f a d e , N o r l o s e p o s s e s s i o n o f t h a t f a i r t h o u o w e s t ; N o r s h a l l D e a t h b r a g t h o u w a n d e r ’ s t i n h i s s h a d e , W h e n i n e t e r n a l l i n e s t o t i m e t h o u g r o w e s t ; A n d I a l o n e o f a l l m a n k i n d W e r e l e f t i n l o n e l i n e s s b e h i n d . S o l o n g a s m e n c a n b r e a t h e , o r e y e s c a n s e e , S o l o n g l i v e s t h i s , a n d t h i s g i v e s l i f e t o t h e e . P e r f o r m a n c e N o t e s : T h e c o m p o s i t i o n i s w r i t t e n f o r a c h a m b e r c h o i r o f a t l e a s t 1 2 s i n g e r s . W h e n t h e 4 v o i c e s ( S . A . T . B ) a r e d i v i d e d i n t o t w o s t a v e s , t h e t o p s t a f f s h o u l d h a v e h a l f t h e n u m b e r o f s i n g e r s o f t h e b o t t o m s t a f f ( e . g . f o r a 1 2 m e m b e r c h o i r : s t a f f I s o l o , s t a f f 2 d u e t ) . A s i n g l e s t a f f a l w a y s i n d i c a t e s t h a t a l l m e m b e r s o f t h a t v o i c e s h o u l d b e s i n g i n g i t . I n g e n e r a l t h e t e m p o i n d i c a t i o n s a r e t o b e s e e n a s a p p r o x i m a t e v a l u e s ( o n t h e f a s t s i d e ) a n d s o m e l e e w a y m a y b e t a k e n b y t h e p e r f o r m e r s i n i n t e r p r e t i n g t h e m . I n t h e r a p i d a n i m a t o s e c t i o n s t h e s p e e d s h o u l d b e c l o s e t o t h e n o t a t e d t e m p o w h i l e g i v i n g p r e f e r e n c e t o t h e o v e r a l l f l o w a n d c o m p r e h e n s i o n o f t h e t e x t . IE 000) © a0a0 CCO00 c oj II - -0 ) CC00 9 F H C, ) C, , CD -t DC CD -I z C C C C 35 (J ) B z 36 CM C C C H > C, , H (ID CD CD -l z > A 37 > B B CD CD -I z B C B C C C) B C C C) B C C C) B 38 CL C, ) - t - t z - 3 C C 39 C(ID $ S CD Do 0< CD -t S O’ D 9, H c /I C S c /I ‘ P DO C C C DO 40 C(1 (l2 z tIC C ,, 41 r, j - t CD -t C z csQ C, , C > C’ ) 42 C B C B C B If ) ID z BC - 3 C C C C, ) 0 B B 43 fr17 )i i (. (.:. _ C r4 II -T h 2 F C — C 9t zSSCd, t C,-, 9t U)C C.) 8880 F- 0C., £ 0 Lt7 b i zV>VC,) 4: H 0 0 zIU , 22C,) F 0 0C 6zIC,) FC C ,, F d.0 2 C 09 zC ., ta F- 0C,, 0C I9 zt)SzrID t.53 0() >C, , C C ,, C, ) C ,, z JQ - 3 x C C C 52 £9 bS z0)0)z F— 0 0F2 zVC,) 0S00E0 0CO 2 C 99 z10)z S C ,, 99 o — 1-. C,) CC 0 F 19 zC,,C z 0C,, H 2 0 b1 zCd,Cd,$$C,) F- 0 0 0Cd z C C, , C C z II 59 09 C ,, C‘UC‘UzU) E F— 0C,, 2 0 z C (dD -t z o,Q 61 C(2 S 9 -I C’, z r 0 0 62 c ) ( D B r e a t h l e s s F o r F l u t e a n d M a x / M S P B y M a r t i n R i t t e r ( 0 L e g e n d : N o r m a l p i t c h H a l f p i t c h , h a l f a i r A i r o n l y M o v e g r a d u a l l y f r o m o n e s o u n d ( o r o n e w a y o f p l a y i n g ) t o a n o t h e r ( e . g . : g o f r o m h a l f t o f u l l p i t c h ) . - f l u t e r . - n o r m . M o v e f r o m n o r m a l t o f l u t t e r a n d b a c k t o n o r m a l . ( e . g . : J j p i t c h e d k e y c l i c k s ; ; H h i u n p i t c h e d k e y c l i c k s ) , K e y c l i c k s w i t h c l o s e d m o u t h p i e c e , r e s u l t i n g i n a p i t c h a m a j o r s e v e n t h l o w e r . U s e a n a g g r e s s i v e a n d c o n s o n a n t a t t a c k . T . R . . T o n g u e R a m ; r e s u l t i n g i n a p e r c u s s i v e p i t c h a m a j o r s e v e n t h l o w e r . F o r t h e m o s t p a r t , t h e T . R . s i g n w i l l b e o m i t t e d a n d o n l y t h e a l t e r n a t e n o t a t i o n g i v e n . A l w a y s a s s u m e a T o n g u e R a m u n l e s s a n o t h e r i n d i c a t i o n i s g i v e n , f o r e x a m p l e K . C . ( s e e a b o v e ) . I C ) ( 0 H . T . H o l l o w t o n e ; u s e a l t e r n a t e f i n g e r i n g s ; t h e r e s u l t i n g t i m b r e s h o u l d b e a l m o s t d e p l e t e d o f h i g h e r p a r t i a l s ; d o e s n o t n e e d t o b e p e r f e c t l y i n t u n e . U s e t h e m u s i c a l f r a g m e n t e n c l o s e d , a n d r e p e a t o r i m p r o v i s e o n i t i f n e c e s s a r y , u n t i l t h e i n d i c a t e d m i c r o p h o n e i s r e a c h e d . C h o o s e t h e n u m b e r o f r e p e a t e d n o t e s a s w e l l a s p i t c h / r e g i s t e r o f a c c e n t e d n o t e , t h e n r e p e a t / i m p r o v i s e a s f n e e d e d . I . . P l a y t h r o u g h m i c r o p h o n e I . . 1 . P l a y t h r o u g h m i c r o p h o n e 2 . I P l a y t h r o u g h m i c r o p h o n e 3 . ( D ( D T h e t h r e e m i c r o p h o n e s s h o u l d b e p l a c e d i n s u c h a m a n n e r t h a t m i c r o p h o n e s 1 a n d 2 a r e c l o s e t o , b u t d o n o t i n t e r f e r e w i t h , e a c h o t h e r . T h e t h i r d m i c r o p h o n e s h o u l d b e p l a c e d s e v e r a l f e e t a w a y ( s e e s k e t c h a ) , i n a m a n n e r s o t h a t t h e p e r f o r m e r c a n r e a c h i t w i t h i n s e v e r a l s e c o n d s . I f p e r m i t t e d b y t h e p e r f o r m a n c e s p a c e , t h e t h i r d m i c r o p h o n e c o u l d a l s o b e p l a c e d b e t w e e n t w o r o w s o f t h e a u d i e n c e ( s e e s k e t c h b ) . a ) b ) ( 3 ) ( 3 ) 1 2 ( 2 1 ) ( 2 1 ) ( a u d i e n c e ) A c c i d e n t a l s a r e v a l i d f o r e a c h b e a m e d g r o u p o f n o t e s . E a c h s y s t e m ’ s d u r a t i o n i s a p p r o x i m a t e l y 1 5 s e c o n d s i n l e n g t h , u n l e s s o t h e r w i s e i n d i c a t e d . A s e c o n d s t a f f b e l o w t h e f l u t e p a r t i n d i c a t e s m a t e r i a l t o b e s u n g . C h o o s e a n y o c t a v e t h a t i s c o m f o r t a b l e . - n C CD A I 0 r’J C CD P t . V 0A rO 0. A — — V - p p - p - 67 99 00 ‘HI 1z LAIIiII 0 E IAc 3 AA L II b>V 411) c 1’ 0 . V C A ) ) Ii ‘p 0 . 69 OL ‘hf4’ V 4 0 y V SA . A \I V ). . V 0 I y )C V V V V C V Ii V V V I Ifl II \J 71 9V V c 3 V V V V V - v c _ . • >1 V. 0 V V I II I 11 E V S 0 72 0) v j I ® y a . $ 0 ‘ H + 0 . 0 I 73 40 V V V -a I 0 c .. C- , 74 V iI V 0 yV . 0 to V A C , V 3 75 9L0 V A 0AA 477 78 6L A I0 ED 0 En ED 9 .. y 80 Fall Fanfare for 3 Trumpets and 3 Trombones By Martin Ritter 81 z B 9 B 0 0 0 B B B Q_ 0- 0- — 0 — . 0 0 0 0 0 B 0 . ) CD CD — CD I I I 0 0 0 I— 0 — - - - - - - - - - - - = > e 1) J.) c .% ‘ • : - — I - I CD CD CD I’ c) a(_) r) - L’ J r 0 0 0 - Ii 01 - (_ ) C - - C 03 I i • (( )) / . 4 , / \ ) - - ( / - Ii C C) - ri - n a A Ij H H H H t) H g (D 11 00 ) S a y W h a t ? F o r 2 P e r c u s s i o n i s t s B y M a r t i n R i t t e r 2 0 0 8 C) Instrumentation: Percussionist 1: 5 metal objects, from low to high — the piece was conceived with break-drums in mind 5 tom-torus, from low to high Percussionist 2: 5 wood objects, from low to high the piece was conceived with temple-blocks/wood-blocks in mind 5 torn-toms, from low to high The wood and metal-objects should approximately match in terms of perceived pitch. The perfoniiers may use other wood and metal-objects to substitute for temple-blocks and break-drums. Ideally the two Sets of tom-toms should be matching. Break the roll to hit the accent, and then resume the roll if possible. Always give precedent to the accented note. JD CC F F 6 6F2 S 6 0 [2 r [ Cd , 93 94 h 96 Q 96 £6 A A AY 1 AiA A Ay 0Ay C,, V Ay A V AAA AAAAAAAAA A A A E AA Ay A AAA A AsV A L 86 8

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