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Compositions Borugian, Thomas Jordan 2000

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COMPOSITIONS by THOMAS JORDAN BORUGIAN B . M u s . , The University o f British Columbia, 1996 A THESIS SUBMITTED I N PARTIAL F U L F I L L M E N T OF THE REQUIREMENTS FORTHE DEGREE OF M A S T E R OF MUSIC in THE F A C U L T Y OF G R A D U A T E STUDIES School o f M u s i c We accept this thesis as conforming toftjie required sjajjdar4  THE UNIVERSITY OF BRITISH C O L U M B I A November 1999 © Thomas Jordan Borugian, 1999  In  presenting  degree freely  at  this  the  thesis  in  partial  fulfilment  University  of  British  Columbia, I agree that the  available for  copying  of  department publication  this or of  reference  thesis by  this  for  his  and study. scholarly  or  thesis  for  her  Department  of  PtuifVv  The University of British Columbia Vancouver, Canada  Date  DE-6  (2/88)  \W  I further  purposes  the  requirements  agree that  may  representatives.  financial  permission.  of  It  gain shall not  be is  permission  granted  an  advanced  Library shall make  by  understood be  for  for  the that  allowed without  it  extensive  head  of  my  copying  or  my  written  ABSTRACT  Psalm 143 and Psalm 116, both for SATB choir, form a pair textually though they are unrelated musically; the former is the 'call', and the latter the 'answer'. In Psalm 143, the musical material was patterned on Arvo Part's technique of tintinnabulation, involving drones and a counterpoint of'bell tones'. Psalm 116, on the other hand, is an exuberant piece featuring rapid shifts of mode, canonical imitation, and constant rhythmic dynamism. Moons ofJupiter is a set of Etudes for piano. Although the pieces are not overtly pictorial or programmatic, they were in each instance initially inspired by the striking terrain of the "Galilean" satellites: lo, Europa, Ganymede, and Callisto. In many ways, Stanzas for Music, for soprano, string quartet, and harp, is an impressionistic work. The text (by Byron) evokes images of light and dark, water, and sound. This is mirrored in the music by a fluid and graceful atmosphere. Both movements of Doppelgdnger (for horn solo) are guided by the idea of a "shadowy double". Dualism is expressed through contrasts of dynamics, register, articulation, and harmony. The title for the orchestral work Faintly White camefroma Basho haiku: "As the sea darkens/the cries of the mallards/grow faintly white". With its emphasis on the 'pure' sounds of individual instrumental groups (brass in particular) and soloists, Faintly White attempts to convey the austere, mysterious vastness of the ocean. Elegy, for SATB choir, is a setting of the Leonard Cohen poem of the same name. Images of water pervade this solemn work. The music grows organicallyfromgerminal  ideas presented i n the work's opening, and by its conclusion several seemingly disparate elements are reconciled. Finally, in Offertory and Creation's Knot we find two strongly dissimilar approaches to writing for violin and piano. Offertory, with its continuous ostinato in the left hand o f the piano and simple melody, is a work o f serene elegance. B y comparison, Creation's Knot is a much more intense and serious work which, musically, deals with the perplexing nature o f human existence - the constant superimposition o f beauty and suffering.  iv T A B L E OF CONTENTS  Abstract  ii  Table o f Contents  iv  Acknowledgement  v  Psalm 143  1  Psalm 116  7  Moons o f Jupiter l.Io 2. Europa 3. Ganymede  18 23 25  4. Callisto  31  Stanzas for M u s i c  32  Doppelganger I.  42  II.  44  Faintly White  46  Elegy  61  Offertory  69  Creation's Knot  74  ACKNOWLEDGEMENT  The composer wishes to acknowledge the invaluable advice and guidance provided by D r . Stephen Chatman, which assisted greatly in the writing and revision o f these works. I would also like to express my appreciation to D r . Keith Hamel, D r . Robert Pritchard, and D r . Eugene Wilson for their insightful commentary and instruction throughout my studies.  1  psalm 143 for S A T B choir  thomas borugian ca. 4'05"  J =96  molto elegiaco  /i  T r r Lord,  hear  my  voice,  lis - ten  to  my  cry  for  mer  -  cy;  *Note: instead of a time signature, Psalm 143 is organised by barlines illustrating the phrase structure of the text.  6 P  O-  — dp for  no  one  liv  mp  mf  0  0  P  ing  is  right  0 - eous  0  A  p^-  be - fore  _ mf  for  no  0  P  one  liv  -  ing  is  you.  be - fore  Lord,.  O— mf  - mp  right - eous  Lord,.  P  you.  I'  »  |  0  The  en  -  e - my  pur - sues  mf unis.  Lord,  The  Lord.-  0  en  - e - my  me,  1»  pur - sues  me,  8  Lord,  •  Lord.  €*= Lord,  Lord.  P.  f  r he  crush  -  es  me  to  the ground;  he makes  j  he  crush  -  es  me  to  the ground;-  r  J  me dwell  in  dark  -  he makes me  dwell  in  ness like those  long dead.  ZZZ /  ,—  P  mp  dark  -  ;> mp  ness like those long  dead.  10 mf,  my  So  spir  -  it grows faint  with - in  me;  my  ft heart  P  with - in  me  is  heart with - in  me  is  dis -  mayed.  mf  So  my  spir - it  grows  faint  with - in_  P  o p  my  dis-mayed.  T T  Lord,  Lord,.  Lord.-  12  mf  P  -0—*—s<—0—0I  re-mem-ber the days  of long  a-go;  I med - i - tate on all your works and con-sid-er what your hands have done.  —  *4  : f  0—0 I  14 L—-  re - mem - ber the days  of long a - go;  -  m  O  ~4  •  I med - i - tate on all your works and con-sid-er what your hands have done.  mf • I  I  spread  spread  out  out  my  hands  to  you;  0  *  *  S>  my  hands  to  you;  my  my  soul  soul  d  m  thirsts  for  you  0  0  0  thirsts  for  you  like  a  like  a  parched  land.  -p  o  parched  land.  unis.  P  3E Lord,-  Lord.-  16  An  - swer  me  quick  Lord;  my  spir  -  it  fails.  - swer  me  quick  Lord;  m  Y  spir  -  it  f j| .  0  0  o  —e-  m  m  swer  me  quick  Lord;  my  spir  •  0  my  spir  mf  An  a  S  mf  An  p-  0  m —&-  it  fails..  -  it  fails..  mf  An  swer  me  quick  P  Lord;  4  19 -* Do  *  0  *  not  hide  your  0-  w  w  9  V  Do  not  hide  your  Do  Do  4  0  0  not  hide  your  not  hide  face  me  or  I  will  be  like  those w h o  go  down  to  the  pit.  those  go  down  to  the  pit.  0  0  0  *  el  0  0  0  0  0  face  from  me  or  I  will  be  like  p  m  0  0  p  me  or  I  will  be  like  those  who  go  down  to  the  pit.  0  0  or  I  will  be  like  those  who  go  down  to  the  pit.  face  your  from  face  from  from  me  0  who  0  0  -  J  d  P  20 ^  r Let  the m o r n - i n g  bring me word  of  your  un -  0  \  fail  -  for  ing love,  I  $  the m o r n - i n g  r r '  i Let  the  bring me word  r f  '  the m o r n - i n g  your  un - fail  r r r  morn - ing bring me word  of  j  f a f f Let  of  your  un  of  your  un  ing love,  -  ing love,  r -  t f,i  bring me word  -  -  fail  for  for  j j  M.  fail  for  - ing love,  have put  <S  f  have put  f f  ff  my trust  I  my trust  J J J  i  have put  r in y o u .  tMI>  I  6-  •  my trust  ft  I  /1'  r r  *  r r  have put  r r Let  •*  my trust  in y o u  r  in y o u .  sfefc in y o u .  22 ;  ' p  i  cresc.  |  t  4  I  i  Show  me  the  way  p  y  If  ,  4  I  I  should  I  should  go,  for  I  I  :  i'  i'  i'  to  you  I  lift  up  my  soul.  cresc.  r  1  Show  p  M  Show  i  r  1  me  1  cresc.  me  the  Mthe  r  r — r way  way  I  should  T go,  go,  cresc.  Show  me  the  -i  J  way  I  J should  f t ? for  r  t  to  you  I  lift  J  J  «  >  my  soul.  my  soul.  my  soul.  f  I  f  r  r  for  to  you  I  lift  up  J  -I  i  lift  up  -i go,  r=r=r up  for  to  you  I  24  mf unis. if ••• — • • Res  -  c u e me  mf unis.  ' »  -  en  -  e - mies,  r  O  Lord,  for  I  hide  for  I  hide  my - self  in y o u .  _  f  cue m e —  I  s  my  s  r r f Res  from  .—  P  from  my  en  -  e - mies-  Lord,  my -  self  in  you.  I  Teach  me  to  your  do  will,  for  you  are  my  God;  29 -o-  P'  Lord,  Lord..  p mf  —*> Lord.-  Lord,  (cresc.)  may  your  (cresc.)  For  good  ,  Spir  1  -  it  I  lead  J  me  on  lev  -  el  ground.  f  your  good  Spir  -  it  lead  me  J on  lev  -  el  ground.  name's  sake,  J  J  mf  r may  your  For  J r  r  your  name's  sake,  31 r a'  a'  r  pre-serve  in  my life;—  in  j  0 O  Lord,  0  pre - serve  —=  mf  your  right  0 your  -  eous-ness,  J  my  life;.  in  your  0  bring me  out  of  a  0  right  -  right  trou - ble.  mf  eous-ness,  mp unis. ~==z^zZ  J  Lord.  *  mp unis. —==ZZ 0  j  r  9 *  f r f r Lord,  v  Lord,  mp unis.  0  m'  bring  me  0  0  bring  me  0 —m-  out  of  trou - ble.  out  of  trou-ble.  mf  - eous-ness,  35  i  1-  In  your  0  0  In  your  f  un  -  fail  ing  love,  un  -  fail  ing  love,  m In  your  un  -  i  t  -  lence  my  si  -  lence  {  !  si  -  lence  my  en  J  J  J  lence  my  en  si  t  m  fail  ing  love,  J In  your  un  -  ing  fail  37  love,  si  -  t  r'  my  i'  i  en  =r=f  r'  en  e  i'  -  mies;  -  mies;  ' e  •jr.  0 de  -  all  stroy-  my  cresc.  -  stray  -  stroy-  cresc.  i  g  1  de  t  ?  all  -  I  am  0  *  &  I  am  your  ser  -  vant.  your  ser  -  vant.  stray  my  foes,  for  my  foes,  for  I  am  your  ser  -  vant.  foes,  for  I  am  your  ser  -  vant.  i all  cresc.  de  for  ff\ i  de  foes,  * — * — « » •  J  all  my  P S A L M  1 1 6 Thomas Borugian  ca. 3'00"  Jubilant J = 132 fP Soprano 1 love the Lord,-  I  love the Lord,-  f  d  Alto I love the Lord,  for  he heard—  my voice;-  fP  /  d ^ d  he  heard my cry—  for mer - cy.-  he  heard my cry—  for mer - cy.-  fp  Tenor I love the Lord,-  I  love the Lord,-  Bass I love the Lord,  for  he heard—  my voice;-  Jubilant J=132 1.  i  p  U  1—r  Piano (for rehearsal only)!  f  r  p  J> J .  P i  fp  1  love the Lord,-  I  J —  f  Be  -  4 - d  J 0  cause he turned—  his ear  to  me,  fp  f  P I  love the Lord,-  love the Lord,-  i  \i  \  will call  on him-  fp  J J P 1 love the Lord,-  PILr  f~r  L  r  8  f  15  grave came up-on  me; I was o-ver  - mf I^r==- p  grave came up-on  mf  grave came up-on  sor-row.  — ^ = = = z z = r r ^ z ^ ^ I Z Z Z  me; I was o-ver  - come by trou-ble and  /  me; I was o-ver  2 >"f - • -  - come by trou-ble and  sor-row.  = = = = = = = = = =  me; 1 was o-ver  :  i i i i p  f  sor-row.  -- p  mfZ=-P  grave came up-on  - come by trou-ble and  fP  =  - come by trou-ble and  Thenunis.  Then I called on— the name of the Lord:  fp  —  Then-  /  sor-row.  Then I called on  the name of the Lord:  'is  i  - -  m  Z /  f  u  u tr [ f  u  u  9  27  mf  p  our God  is  our  full  God  is full  of  com-pas  -  P  mf  P  our God  is  our  full  God  P T  p ^ U  is full  of  com-pas  -  sion.  h J is full  n  j> i of  com-pas  ,  - sion.  r f  f-  our God  God  is full  P  ,  of  com-pas ,  -  sion.  is  com-pas  -  sion.  our God  E  r  The  Lord  p  r  pro-tects  the  "If  p  pr  The Lord-  mf  P  God  The Lord-  sion  r is  1  ^ = 5  P r com-pas  -  sion.  Lord  mf  pro-tects  P 1  p  the  10 mf  32  p  The  Lord  pro - tects  the  sim - pie - heart  -  1  was  in  I  was  in  1  was  in  great need,.  I  was  in  great need,-  ed;  P  "if The  sim - pie - heart  -  Lord  pro - tects  the  sim - pie - heart  -  ed;  when  The Lord-  ed:  P  sim - pie - heart  -  ed;  * /  when  The Lord-  mf. 7  i-jtj-  P  t£=  r 1  need  when  JP 9  ? J  7  T  was  in  g«•at ne ;d,  ]  1  I  P ' ' L J when  need  1  I  was  '  J  in  i  great need,-  he saved  IN.- > -J- "—£  P  he saved  me.  1—«L_n he  L I saved—  r me_  r.  me.  1  J  IH  he  mf  7 he saved—  me.  T—1  ^  -«-  -H-  11  12 Tempo I 53  m  "if  -  P  good  been  J = 132 PP  rs  3=£ For  you.  :mf  been  you,  P.  good  you.  For you,—  Zmf  Prrs  PP.  to  O Lord,-  a.  —z<— good  to  PP  you.  Tempo I  P  For  I  you,-  59  have de - liv - ered-  J= 132  N  1  —a—  •« 7 ^ I  PP  P  mf  mf  mp  4$  z*=k\ my  soul from death,  g  r  ' liv-ered-  '  ?  -tt.  f  1m  L - J my soul from death,  my  eyes— from tears,.  > hi ? — * -  my  mf  mp  Q  eyes— from tears,.  mf h  1  my  my soul from death,-  mp (  de  have de - liv-ered  For you,  you.  =- Pr> been  have de - liv-ered-  O Lord,  pp  good  been  P  j — ' de-hv-ered  1  '  r  ' ' r de - liv-ered  *  - i  i  f— ered-  mf  mp  3=k  de-liv-ered-  I  *  de - liv  3E£  1  '  de - liv-ered  7 mp  7  de  mf  -  liv  ered-  4  de-  3 &  /mp  p r—i-r  r p  13  a tempo  nt. 64  fe my eyes— from tears,  my eyes— from tears,  f  r\ fp  fe my feet— from stum - bling, /  thatO  f -Jy  n  r  m eyes— from tears,  my  eyes  from tears,  my  feet-  from stum-bling,  f de - liv  in the  ered  from  r\ fp  stum-bling,  land of the liv-ing.  Jf,  •  -  f  f^'  And  in my dis-may I  And  in my dis-may-  mf  1 be-lieved; there-fore  land of the liv-ing.  Lord in the  I said,-  f  ffi  0 in the  that I may walk be-fore— the  I  land of the liv-ing.  d0  said,  "1 am great - ly af-flict - ed."  ff, mf 0 0,,. Lord in the  , ..  0 0 0  V"U  land of the liv-ing.  J  I \—^^  1 be-lieved; there-fore  I said,-  i = § t  f  ff  mf  in my dis-may-  f  » mf  ff  And  /p  r  pr p W W  14  76  mf  said, "All men  are Ii - ars.'  I will lift up the  the Lord-  cup  and  mf  f  How can I re-pay  I said-  I will lift up the  the Lord-  cup  and  mf  the Lord  for all  the  hisgood-ness tome?  mf  mm the Lord  I said,-  4*  for all  cup of sal-va-tion-  3  his good-ness to me?  the  cup of sal-va-tion-  ft. r  Mr F  83  mf  P  d d call on the name  1 will ful-fill-  the Lord-  of the Lord.  mf  call on the name  of the Lord.  1  P  re-pay  1 will ful-fill-  the Lord-  mf  f  jilt*  , »y;t»- r f =^E  How can 1 re-pay  the  for all  Lord  W  hisgood-ness tome?  P  1 will ful-  P  the  Lord  for all  his good-ness to me?  1 will ful-  16  I  g  love the Lord,-  I love the Lord,-  i  "  4 4  _  ""1  he  heard my cry— for mer - cy.  fp  /  _  f  I  love the Lord,-  , L J  —«—*  - «  Be  -  cause he turned— his ear  to  Be  -  cause he turned—  to  fP  I love the Lord,.  he  , 5  heard my cry—  U P  for mer - cy.-  CJ  r P  >  si  his ear  p r P Pi  17  109  Praise— the Lord—  Praise—  the Lord.  Praise—  the Lord.  Praise—  the Lord. Praise—  the Lord  Praise the Lord.  cresc.  f  Praise— the Lord.—  Praise—  the Lord. Praise—  the Lord. Praise—  the Lord. Praise  cresc.  Praise the Lord. f  the  Lord.-  Praise  the  Lord.  Praise-  cresc.  the-  Lord.  Praise-  jt j. _ P  Praise the Lord.  Praise the Lord.  Lord.  Praise-  r - = &  f  J  J  3  i  A  ~A  A.  the  A  Praise the Lord. Praise—  f  A  the Lord. Praise  the Lord. Praise—  the  Lord. ff  Praise the Lord.  Praise the Lord.  Praise the Lord. Praise—  the Lord. Praise  the Lord. Praise—  the  Lord. -ft  the Lord.  Praise—  Praise-  the Lord. Praise  the Lord. Praise—  the  Lord. ff  the Lord.  Praise—  Praise-  the Lord. Praise  the Lord. Praise-  the  Lord.  rit.  —c—»  ¥  H N4  N *-  [>~f  fifl  — ">'-  —  -  4  f1  ff  18  M O O N S OF JUPITER for piano solo  l . I o Thomas Borugian  ca. 1'30"  Allegro vigoroso J= 120 M_ /*  -.at  mt v  >  u  -  1  J  F r f ¥  * «.. Bit.r r t -  -  ^  •  //'  > ^V* —1—  "Note: Accidentals apply solely to the note they directly precede and are valid only for the measure in which they occur.  mf "  !r  ff  mf  -P  mf  ff  ff  mf ff  £  ™f  P  20  21 ff ff  m f  m$t  1  i g  it  ^  fe*  ff  ff  mf t:  mf ff  4 J0f™/  //  if  35)  ff  mf  »  i  7 ^  , *  ff ^)  ff  ff  s_  ^  mf  % 5  7  ff  i = l l  is 7  w™P  8°  b  mp  2.  23  E u r o p a  ca. 2'00"  Largo e pesante A 96  col Pedale  ss^"  1 ^  —•—  ^™ ^™  mp  T I  24  iu f piu  mp -i-i  ' > a ^ M i i r  r  r  Ur  4  V 4 6 - p  m  T— ——nf'i  /?oco a />oco rit.  Jf  >4- i  3. ca. 2'35"  ^ « -H1 -«! cresc.  1> 7  '>  a  25  G a n y m e d e  !  t  V  108 —  itw—?—  1*1  —  * 4 > * * r t  F  M  r  1  <  J4v  8*-'  ©  rit.  a tempo •  •  rit.  *P  f  f  a tempo  mf  P  i-p-  mf  f -0-  54  16  if Ja,  |  n7.  ,  1  i^T  T»  3t—  t -i-  - ^if mp  P  4 .  a tempo  4-^-  =^= iff r  :zb:  IT?  M-  accel.  •  4.  C a l l i s t o  ca. 2'15"  Espressivo m a non troppo dolce A 60  31  STANZAS FOR MUSIC  32  I. There Be None of Beauty's Daughters Text: B y r o n  for Adrian and Paige  Delicato  Thomas Borugian  J= 50  J=  60  Soprano  Harp  PP  mf  PP  mf  mf  Violin I "if  P  pp\ mf.  P  Violin II —o  mf  3 PP  —p^-  Viola  PP  P  mf  \.  P  mf  p  mf  mf  P  Cello  mp  <p  <p  ">f  mp  <P  f  mf  P  f  m  — —  mf f  33 16)  a tempo  rit.  mp  There—  p  mp  ^1  be  P  5*  J 4 — mp <  r  p sub.  /  ^  PP  ' M l  —ZTT-  J J  h  w ir v  \  •  •  r  e>  pp.  r  = ^  £ c ff  fe -=d /  PP  (21  of  Mr V n l .  Beau-ty's  daugh - ters  With-  r k  «»:  9  *5 F  f  1  I  '  "•3 5 J  J  J  h  7Bp;  /Hp  «1  «i  5  34 rit.  a tempo mf  35 a tempo  rit.  (34)  mf  as  When,.  mp /  mf  f  "  •  »  I  3  II  3 3  if-  3  J.  3 PPP  mf  PPP  I;I  hi,,  .  iir  r —-*  —  The charm - ed  its sound were caus - ing  The charm - ed  -4— 4  =*===  (j^ 3 1 — T l cresc.  fc-—«fA-  — H i  1  cean's pausing.  o  L  H i  rf"3  J  mp  PP  Y  r  V  36  37  38 (65)  J=60  rit.  '  P »  0  And the mid  f  f  -  night-  f  f f f n i r f f~f f  r  ff  cresc.  PP  '0• (cresc.)  rf  ftr (cresc.) r\  f  f  5  -m-  P-  ff  (cresc.)  moon  is  Her—  weav - ing  4-  mfZZZ==  .t-  -  r r r r  PP  f  bright  chain  o'er the  P  r PP  /»/» ——.  *—•—•—* pp  r  p  39 a tempo  f  mf  4^  i  mf :E  i •/ r  :E  r  :E  r  :t_ = g  fig  40 a tempo  (86)  Si it bows be - fore thee,  To lis  -  ten and a  -  dore  thee;  With  -u  " t o "  pp —=  mp  pp  mp  pp  mp  pp cresc.  a full but  41  42  DOPPELGANGER f o r s o l o horn i n F written for Marcia Titley  I. Thomas Espressivo \ t h \ fel J -  J =62 \>f\ jj  "P p  F)  mf  ppp  D  —  -a—  rit.  [?r  -  -3-1  mp  i  PP  a tempo *  rit.  a tempo  Borugian  o --  7  3=£ jjj  7  ^ f  rit.  3  mf  P  JJJ  r rr  a tempo 13  1  + + ^^^^  ^> - = = :  ^^^^mm^^  «9» -  i f  fff  slower  16  o  3  mp  1*.  J  —  i  v \  K  molto accel.  ^  v  »?/  21  "r  - +  •  ^ -  +  Ij  o  J  J  1  /  J  -  Willi  P sub.  -1  +  J J  \ F  11  1  + —o  ^ > J  f sub. ~=zzz: ff Ter npo I  +  r  r7\ ~v -2  *  *  1  •  J ^ p E B J  0 7 '  -2  4  •  i 7  f Jf)  *Note: the following indicates a gradual insertion of the hand into the bell from open to stopped: °  +  iHft a—JJL  43  24  If J*H jj=  3=2:  »  0  =  ^j-  mp  j  30  -  j -  3  iU - 'LU L U g l LJ |  wo/to acce/.  54  36  r  o  +  S O - - - + 1 i  o-  + - -  •]  --I  -t+ + o +— — — •3 — _ -H5 P +  I -•  +  '  :  i  f f *Tf—f  I f — >  "  -  r~~"^  *  .  o  if 44  ifj  r  p 5 f i7 f » T  -  * P  -  •  r* >  LT*  ^ —  13-^  —  -  —  p  e ft—  ^  1  -a— >  -4  +  - ^ T *  l  -  Tempo °^+-o-- +  + +  + +  D V v w w v i  0  ~ f — °  " J  3 f -[  r^-— —  -  —  44 II . Animato J- = 100  11 » ^ r i - j / q a p  4 /  rit.  ^  a tempo  *y  4s—^— —*h L  45  FAINTLY WHITE  46  for Orchestra ca. 5'00"  Thomas Borugian  Broad and Expansive J = 69 nt.  •> a tempo  2 Oboes  2 Clarinets in B b  4 H o r n s in F  2 Trumpets in B b  B. T b n . & T u b a  Timpani  Broad and Expansive J = 69  Cello  , a tempo  35  (poco a poco accel.)  crash cymbals  ff bass drum  J - - 120  104 (poco a poco accel.)  1.  a2  ff a2  a2  ff  mf  ff crash cymbals  ff bass drum  ELEGY  61  for SATB  Text: Leonard Cohen  Thomas Borugian  Mysteriously J = e.9 rap  PP Soprano ah  [m]_  [m]  - ah 77/p  [m]  - ah  P  pp Alto [m]  [m]  [m] "  ah  mp  P Tenor [m]_  ah  [m]  ah  [m]  P  PP  • ah  mp  Bass [m]  Piano (for rehersal only)  pp  r  r X  ah  /Hp  -A  *Note: [m]—ah indicates a gradual opening of the mouth to the specified vowel; the reverse indicates a gradual closing of the mouth.  i  62 mf  10  =— pp //mp  o -  ah  [m]  mf  ah  [m]  =F°= Do  look  Do  look  for-  P  TJ  [m]  ah  - - ah  [m]  ah  mf  pp //mp  P ah  [m]  Do  look  for-  //mp  [m]  - - ah  ah  Do  not  look  //  i-1  3  /5  $«&  -®|S>-  Jo  J1-  -J  63  64  //pp  0 b uis 0 W ! T 1  the  stones for  shore-  his  blood;  ah-  //pp 3IE the  the  shore  shore  unis. pp  the  shore J  3 E  8  J  for  his  for  his  for  his  J  J  blood;  b l o o d  i  blood;  R  ah-  //  //  ah-  a tempo mf scend  -  ing  f unis. scend  -  /  unis.  ing  -  scend  -  a tempo  ^  ing  a.  .2.  cliffs  through  cliffs  mf  o  scend  through  green  "if  ing  through  cliffs  Of  flip  mf  through  slow-  mp  cliffs  Of  PP  slow  green  ter  P slow  Of-  PP  green  0 ter  ' O -  Of_  m  -  J. A  ^mp  r—r  X  P  T  p  P  P  green-  67 #7/. 55  a tempo // f m  i=at wa - ter  wa  green  wa  -  slow-  ter  wa  -  -  And  ter_  hov  the-  //mf  ^  / / And  the  ter  P  hov  3SBE slow  ter  // —s— slow  ter  r/V.  J: Ii I r>»-  a tempo // f m  * —  .8  nt. 59  3  i  fr 'ring  col  'ring  col  r  0"T  p  1  r Kiss-  oured fish  his  Kiss his  oured fish  snow-bruised  bod  -  y-  snow-bruised  bod  -  y-  WP unis. <•): m  iJ.'.J i  «  •  •  J  0  SEE  ~# J  68 a tempo 64  wa  green  m slow—  4  -  ter-  \> d-  wa  mp And—  build their  rnp  And—  3 nests l>r I"In se-cret—  J his flutt-'ring  SEE wind - ing  L . I  •  build their  se-cret—  .  nests  — wind  sheet  -  * z * ing_  Of-  P  . ~  sheet  Of-  green  mm PP,  green  a tempo p  0  --  pp  rr  69  OFFERTORY for violin and piano  Thomas Borugian With simple clarity Violin  |i n  J = 52  1  3  1  1  H  p  Piano  9:  iff £ —  = & = = = £ = — »  r m fV r r r—f—  -  m  —r  1  —  0  '  i i  I'  •  —  M.  •  J  «/  r  fP-l  >  r  L_  r  *  *  rit.  feE  •  •  .  — •  —  rit.  1  j—<  »  —  '  "tempo  a tempo  = J  fP P"^  j~n  ^  m m m  70 J .  =—  "p  7  J)J  LU 1  p ---  J. . . i f -p-f-f-  . -mm "  -  #f  r r fFf f  f  P—  l  ^  :  9—  r  r  — p— —  =P-f  :  jflTfEf & £if if  X  rT  j  m  4  *  •  —  X  J  V0  01  r 4  "  v  v  ^  f»  •  I-iJ  -J  cresc.  FFJ  ^  ^  f  4  f»  1  1  L  T  r r r LX.1—r i  ^  i  X~  p ~  PP  = = —  n  iJ  m  f •  rrrTTj  r•  j * %—*=*  r  •  simile •0-=  #-=  m m  #  71  Pi *  J  — -  J  '  J  •  —  *  — J  — -  A  (23  —  i  —  J  -  r  • »-i « ^ • ¥+ • J - - J  -W  rn rn  LJ  J  #  +•  *  .  M  ^ ^ ^ ^  — *  '  m  \-  72  11-  r-l  -. •  '  S9-=  ^4—I  .  '  mp  >>\V (V "  4^  W  .  —  1  r  r  »  *  J  f  i  -  * j  •  •  P =  *-  1  -'  i *  pi  ^  —  <  ^  f  "  J  mp  =H  i  i  r  r h  j.  ,  il  *•'  f  »  1  I-  1 •  fpJ  a  *  73 £Sy  a tempo  k  (  e/npo I  J  J  J  •  ^ =  J  '»  1  Slightly slower  mf  —P  7  -krt $r%r\ mf i  —  ^  rit.  —  ^  —  .  —  -  —  i  -  j  7  i  7  j^*  ,  J  ,  j , j.-^ j  i  Creation's Knot for violin and piano  •Note: the damper pedal may be used here and in other instances to capture the "A's" and prolong their resonance.  74  75  76  77  78  79  

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