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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  C)  C  l’3  rTl  I—  (p  (p  (3’  1  V  V  V  V  ‘V  e  (  —  $  y  A  C  C  yr  0  Ct  Ct  C  Ct  Ct  C  ‘I  0)  y  Ce  AH  Ce  C  Ct  Ce 0  en  C  \/  co  v v4  v,  VI  V  V  V  V  V  V  V  V  V!  V4  I  VI  v,  VI  v,  VI  I  -  z  (.  “I  V  V  0  0  >  1/  0  V  0 0  --  It  0  0  0 0  0  0.  0.  >-,  It  0  0  0  9  0 0  0  en  A  C) C)  C)  C)  0  >  r’3  (b  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  ON THE CROSS I HAVE FOUND YOU Translation by Andrea Kuburiá  Na krstu sam te naao, razapetu izmedju krajeva sveta, zakucanu ekiéem greha, prikovanu klinima razoéarenja, izmedju olovnog neba i pakiene zemije.  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.  Na krstu sam te naao, uzdah pre zadnjeg izdisaja, zvuk pre zadnjeg otkucaja, zrak pre zadnje misli, izmedju nesvesnog rodjenja i hitajuée smrti.  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.  Na krstu sam te naao, konfuznu od bola, u komi od patnje, krvavu od udaraca, uskomeanog tela i slomijenog uma.  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.  Na krstu sam te naao, zgrenog lica od napinjanja, napetih usana od borbe, izlomljenog vrata od napora, i pozvao te da sidje.  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.  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. 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  p r’)  ci) ci)  CD  CD 0  C) -‘  o  0)  r\)  0  D  0  0  (1)  o -o  CD  .  DC  .  S  — CD  9  (P  (P  (P  9)  o  tL  S  C  C  C  F( ( Y EC Y  (P  q  B  (p  Os  B  (  Os  B  OS (p  OS (p  B  OS  O<  r\)  9)  O  -  >  n (  ---  T\)  A  p j\)  F’)  9)  9)  “3 C  p  r\)  ci)  I) -  (  p  A S.  A S.  A  c) ,  i,.’  <  S  <S  <<,  <S  0<  j  <  p  I  S  !< }!  j  1  ( Y ( V ( V  1  .1  PZ  <  I.  ci,  5  0<  S.  l!  -  çi  1<  1  A  “3  >  ci)  p  r\) -  ci)  y  p  r\) F’)  9)  9) p  > I’)  9)  9)  t’3 ()  V  A  p  ci)  p F”)  ci)  9  >  9)  9)  I  9  r’.)  r)  çi  9)  0  p F.)  I) F.)  p  zI  F.)  A (A  > F.)  Cl)  I’) 0)  p  r\)  >  >  ci,  ci’  p  ci)  —4  F\)  y  A  V  (  /  o  ‘I I  o  e  t  t)  ci)  rc  -‘  çi  ‘I  C,  0  ,  0  -  I  -  Q_  c  .4.  ,  <  0  C,  —  l  0  i  tz  ,  •  0  —  -  0.  C)  0  —  ci)  0  e  0.  C)  <  0  —  ci)  0  N)  c) F’)  > F’)  9) F’)  F’)  çi -  9)  (0  9 I’)  r’) -  p  >  ci)  C  C)  (;  C,  0  D  )E  I  I  -  >  r”)  Co  Summer’s Day Winter’s Night For a cappella choir  Texts by William Shakespeare and William Barnes  Music by Martin Ritter  C’,  Summer’s Day Winter’s Night W. Shakespeare W. Barnes Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date:  But thy eternal summer shall not fade, Nor lose possession of that fair thou owest; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou growest;  It was a chilly winter’s night; And frost was glitt’ring on the ground, And evening stars were twinkling bright; And from the gloomy plain around Came no sound,  And I alone of all mankind Were left in loneliness behind.  Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d; And every fair from fair sometime declines, By chance, or nature’s changing course, untrimm’d; But where, within the wood-girt tow’r, The churchbell slowly struck the hour, As if that all of human birth Had risen to the final day, And soaring from the wornout earth Were called in hurry and dismay, Far away;  So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.  Performance Notes: The composition is written for a chamber choir of at least 12 singers. When the 4 voices (S.A.T.B) are divided into two staves, the top staff should have half the number of singers of the bottom staff (e.g. for a 12 member choir: staff I solo, staff 2 duet). A single staff always indicates that all members of that voice should be singing it. In general the tempo indications are to be seen as approximate values (on the fast side) and some leeway may be taken by the performers in interpreting them. In the rapid animato sections the speed should be close to the notated tempo while giving preference to the overall flow and comprehension of the text.  I C CO  00  -  coj II -0)  C C  00  9  F  E  a 0  a0  00  0)  ©  C  C  C  H C,)  C  z  -I  CD  DC  -t  CD  C,,  35  C  C  C  CM  z  B  (J)  36  H  > C,,  >  H  A  z  -l  CD  CD  (ID  37  B  C)  C  C  C) B  C  C  C) B  C  C  B  C  B  B  B  >  z  -I  CD  CD  38  C  C  L  -3  C  z  -t  -t  C,)  39  DO  C  C  C  DO  9, H  C  S c/I  C  c/I  ‘P  S O’D  -t  CD  0<  Do  $ SCD  (ID  40  C,,  C  tIC  z  (l2  (1  41  > C’)  C  C,,  csQ  z  -t C  CD  -t  r,j  42  B  B  0  B  C  B  C  B  C  -3  C C C,)  C  BC  z  ID  If)  43  fr17  II -Th  C  (.  2 —  ) i(.  i  :. C  r4  C  F  9t  z  S S Cd,  C,-,  t  9t  U)  C  C.)  0 C.,  £  0  F-  8 8  0  8  Lt7  bi  z V  >  V  C,)  0  4:  0  H  I  z  U,  2 2 C,)  0  0 C  F  6  I  z  C,)  d. 0  C,,  2  C  F  F C  09  z  C.,  0  C,,  0 C  F-  t  a  I9  z  t)  S z  rID  0 ()  t  .5  3  C  C  C  x  -3  > C,,  C,, C  JQ  z  C,,  C,)  52  £9  bS  z 0)  0)  z  0  0  2 F  F—  z  V  C,)  0 CO  2  C  0  S 0  0  0  E  99  1  z  0)  z  C,,  S  99  o 1-.  C,)  C C  —  0  F  19  z  C,, C  0 C,,  2  0  H  z  b1  Cd,  z  Cd,  $ $ C,)  0  0  0 Cd  F-  z  C  II  z  C  C  C,,  59  09  C,,  C  ‘U  C  ‘U  z  U)  0 C,,  2  0  F—  E  z  C  o,Q  z  -t  (dD  61  0 0  r  C  z  -I C’,  S 9  (2  62  c)  (D  Breathless For Flute and Max/MSP  By Martin Ritter  (0  Legend:  Normal pitch Half pitch, half air Air only Move gradually from one sound (or one way of playing) to another (e.g.: -fluter.-norm.  Move from normal to flutter and back to normal.  (e.g.:  ,  go from half to full pitch).  J  j  pitched key clicks;  ;H  hi  unpitched key clicks)  Key clicks with closed mouthpiece, resulting in a pitch a major seventh lower.  Use an aggressive and consonant attack.  T.R.. Tongue Ram; resulting in a percussive pitch a major seventh lower. For the most part, the T.R. sign will be omitted and only the alternate notation given. Always assume a Tongue Ram unless another indication is given, for example K.C. (see above).  IC) (0  H.T.  Hollow tone; use alternate fingerings; the resulting timbre should be almost depleted of higher partials; does not need to be perfectly in tune.  Use the musical fragment enclosed, and repeat or improvise on it if necessary, until the indicated microphone is reached.  Choose the number of repeated notes as well as pitch/register of accented note, then repeat/improvise as needed.  f  I..  Play through microphone I.  .1.  Play through microphone 2.  I  Play through microphone 3.  (D (D  The three microphones should be placed in such a manner that microphones 1 and 2 are close to, but do not interfere with, each other. The third microphone should be placed several feet away (see sketch a), in a manner so that the performer can reach it within several seconds. If permitted by the performance space, the third microphone could also be placed between two rows of the audience (see sketch b).  b)  a) (3)  (3)  1 2 (2 1)  (21) (audience)  Accidentals are valid for each beamed group of notes. Each system’s duration is approximately 15 seconds in length, unless otherwise indicated. A second staff below the flute part indicates material to be sung. Choose any octave that is comfortable.  CD  C  0 r’J  A —  I  A —  A  V  0  V  .  t  P  C CD  -n  p  0.  rO  -  -p  -p  67  99  0 0  0  I A  E  c3  L A  IIi  II  A A  ‘HI  1z  LII 411  b  >  ) V  A .  ‘p 0  Ii  V C  )  )  .  1’ 0  c  69  OL  ‘hf 4’  y  4  S  A  0  .  V  V  A  \J  I Ifl II  V  V  I  V  V  V  V V  V  \I  0  ).  V  V  Ii  C  y  )C  .  71  V  V  V  9  0  S  E  1  I  I  I  c_.  •  V  V  V. 0  >1  -v  V  V  V  V  V  c3  72  0)  I®  vj  I  0  .  0  +  ‘H  .  a  y  0  $  73  I  0  -a  V  V  4  V  0  C-,  c..  74  A  C,  V  to  3  0  V  iI  V  y  0  .  V  V  75  9L  0  0  A  A  A  V  4  77  78  6L  A  I  y  ED  En  0  ED  0  9..  80  Fall Fanfare for 3 Trumpets and 3 Trombones  By Martin Ritter  81  0  0  —.  CD  .)  B  Q_ 0 0  B  z0  I  >  •:-  ‘  c.%  —-----------=  I  00 0  B  0  B CD  9  I  1)  J.)  —  00 0  B  0  e  CD  0  —  B  0  I—  0  -I  I  —  c)  I’  CD CD CD  (_) -  r)  a  01  L’J  0  r  0  0  -Ii  C)  ,  ((  4  /  ))  \  /  )--(/  .  •  Ii  -  03  (_)  C-  C  C  -Ii  A  -ri  a  -n  H H H t)  H  g  H  Ij  (D  11  0 0)  Say What? For 2 Percussionists  By Martin Ritter 2008  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  C C  F 6  F 6 F 2  S  6  0  [2  r [  Cd,  93  h 94  96  Q  96  £6  C,,  A  A  A A  A  y  A  A  A  0  A  A  A  y  A  A  A  A  A  A  A A  A  A  E  A Y  A  y  A  y  A  A  A  A  V  As V  A  i A  A  A  A  A  L  V  1  86  8  


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