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UBC Theses and Dissertations

Compositions Borugian, Thomas Jordan 2000

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C O M P O S I T I O N S by T H O M A S J O R D A N B O R U G I A N B.Mus . , The University o f British Columbia, 1996 A T H E S I S S U B M I T T E D I N P A R T I A L F U L F I L L M E N T O F T H E R E Q U I R E M E N T S F O R T H E D E G R E E O F M A S T E R O F M U S I C in T H E F A C U L T Y O F G R A D U A T E S T U D I E S School o f Music We accept this thesis as conforming toftjie required sjajjdar4 T H E U N I V E R S I T Y O F B R I T I S H C O L U M B I A November 1999 © Thomas Jordan Borugian, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of PtuifVv The University of British Columbia Vancouver, Canada Date \W DE-6 (2/88) 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 of Jupiter 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 came from a 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 organically from germinal ideas presented in 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 O F C O N T E N T S Abstract i i Table o f Contents iv Acknowledgement v Psalm 143 1 Psalm 116 7 Moons o f Jupiter l . I o 18 2. Europa 23 3. Ganymede 25 4. Callisto 31 Stanzas for Music 32 Doppelganger I. 42 II. 44 Faintly White 46 Elegy 61 Offertory 69 Creation's Knot 74 A C K N O W L E D G E M E N T The composer wishes to acknowledge the invaluable advice and guidance provided by Dr . Stephen Chatman, which assisted greatly in the writing and revision o f these works. I would also like to express my appreciation to Dr. Kei th Hamel, Dr. Robert Pritchard, and Dr . Eugene Wilson for their insightful commentary and instruction throughout my studies. psalm 143 for SATB choir 1 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 — mf mp dp 0 0 P 0 0 A p^-for no one liv ing is right - eous be - fore you. _ mf - mp 0 P P O -P O— mf Lord,. Lord,. » | 0 for no one liv - ing is right - eous be - fore you. I' The en - e - my pur - sues me, mf unis. 0 1» Lord, 8 Lord.- The en - e - my pur - sues me, Lord, Lord. • €*= Lord, P. Lord. f mp r j J r he crush - es me to the ground; he makes me dwell in dark - ness like those long dead. P , — ZZZ / ;> mp he crush - es me to the ground;-10 he makes me dwell in dark - ness like those long dead. mf, ft P So my spir - it grows faint with - in me; my heart with - in mf me is dis - mayed. So my spir - it grows faint with - in_ P my heart with - in me is dis-mayed. T T o p Lord, Lord,. Lord.-12 mf P -0—*—s<—0—0-I re-mem-ber the days of long a-go; * 4 I med - i - tate on all your works and con-sid-er what your hands have done. — : mf - P ~4 • 0—0 O I 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. 14 L — - mf • d m I spread out my hands to you; my soul thirsts for you like a parched land. -p o 0 0 0 0 * * S> I spread out my hands to you; P my soul thirsts for you like a parched unis. land. 3 E Lord,- Lord.-16 An - swer me quick mf Lord; my spir - it fails. An - swer mf me quick Lord; m Y spir - it f a j | S . 0 0 o p- 0 —e- m m m —&-An mf swer me quick Lord; my spir - it fails.. • 0 An swer me quick Lord; my spir - it fails.. 19 4 -* * 0 * 0-Do not hide your face from me or I will be like those who go down to the pit. w w 9 V 0 * el 0 0 0 0 0 Do not hide your face from me or I will be like those who go down to the pit. p m 0 0 p 0 0 0 0 0 - J d P 4 0 0 Do not hide your face from me or I will be like those who go down to the pit. 0 0 Do not hide your face from me or I will be like those who go down to the pit. 20 ^ 0 •* * <S • 6-\ r r f r r Let the morn- ing bring me word of your un - fail - ing love, for I have put my trust in you. r r ft f f ff for I have put my trust in you Let the morn- ing bring me word of your un - fail - ing love, $ i r r ' ' r f r r r r r r / 1 ' tMI> r for I have put my trust in you. M. i J J J sfefc Let the morn - ing bring me word of your un - fail - ing love, f a f f j t f,i j j Let the morn - ing bring me word of your un - fail - ing love, for I have put my trust in you. 22 ; ' p cresc. | , i t 4 I i I f I I I : i ' i' i ' 4 Show me the way I should go, p cresc. y r1 i1 r1 for to you I lift up my soul . f t ? r t r = r = r for to you I lift up my soul. r — r r T S h o w me the way I should go, p cresc. J J « > I f r r M M f for to you I lift up my soul . J -I i Show me the way I should go, cresc. -i J J -i S h o w me the way I should go, for to you I lift up my soul . 24 mf unis. if ••• — • • P Res - cue me from my en - e - mies, mf unis. .—s _ ' » r r f r f O Lord, for I hide my - self in you. R e s - cue m e — from my en - e - m i e s - Lord, for I hide my - self in you. s I I Teach me to do your will, for you are my G o d ; 29 -o- P' p Lord, Lord.. mf — * > Lord, (cresc.) Lord . -For your name's sake, may your good Spir - it lead me on lev - el ground. (cresc.) , 1 I J f mf J J J J r r r may your good Spir - it lead me on lev - el ground. For your name's sake, 31 r a' a' m' v r r Lord, mp unis. —= mf Lord. 9 * f r f r p re -se rve my life;— * 0 0 Lord, in your right - e o u s - n e s s , mp unis. —==ZZ mf bring me out of trou - ble. 0 0 a 0 0 —m-j j J J 0 0 in your right - e o u s - n e s s , mp unis. ~==z^zZ mf bring me out of trou - ble. 0 0 O Lord, pre - serve my life;. in your right - e o u s - n e s s , bring me out of t r ou -b le . 35 i t i' i i 1- f In your un - fail ing love, si - lence my en t r' t r' =r=f 0 0 In your un - fail ing love, si - lence my en e - mies; m m { ! i' ' In your un - fail ing love, si - lence my en J J J J e - mies; In your un - fail 37 ing love, si - lence my en •jr. 0 de - s t roy-cresc. all my foes, ff\ for I am your ser - vant. i t ? my foes, 0 * & de - stray cresc. all for I am your ser - vant. i 1 g i * — * — « » • de - stroy-cresc. all my foes, J for I am your ser - vant. de - stray all my foes, for I am your ser - vant. P S A L M 1 1 6 ca. 3'00" Soprano Alto Tenor Bass Piano (for rehearsal only)! Jubilant J = 132 Thomas Borug ian fP 1 love the Lord,-f I love the Lord,-d d ^ d I love the Lord, for he heard— my voice;-/ fP he heard my cry— for mer - cy.-fp I love the Lord,- I love the Lord,-i I love the Lord, for he heard— my voice;-Jubilant J=132 1. he f 1 — r J> J . heard my cry— for mer - cy.-U p r p P i fp 1 love the Lord,- I love the Lord,-J J 0 4 - d — Be - cause he turned— his ear to me, f fp f fp \ will call on him-P i \i J J P I love the Lord,- 1 love the Lord,-P I L r f~r L r 8 15 f fP grave came up-on me; I was o-ver - come by trou-ble and sor-row. Then-- mf I^r==- p — ^ = = = z z = r r ^ z ^ ^ I Z Z Z f unis. grave came up-on me; I was o-ver - come by trou-ble and sor-row. Then I called on— the name of the Lord: mf - - p / fp — Z / grave came up-on me; I was o-ver - come by trou-ble and sor-row. Then-mfZ=-P = = = = = = = = = = / grave came up-on me; 1 was o-ver - come by trou-ble and sor-row. Then I called on the name of the Lord: >"f -2 i i i i •:- p = i - - f m 'is u u u tr [ f u 9 27 p our God is full P mf our God is full of com-pas - sion mf The Lord-P P T p ^ U our God is full h J j> i n our God is full of com-pas - sion. The Lord-P mf E r p r God is full of com-pas - sion. , r f f-our God is com-pas - sion. The Lord pro-tects the p "If p r r 1 P r ^ = 5 God is full of com-pas - sion. our God is com-pas - sion. Lord pro-tects the P , , mf P 1 p 10 32 mf p The Lord pro - tects the sim - pie - heart - ed; "if 1 was in P The Lord pro - tects the sim - pie - heart - ed; I was in sim - pie - heart - ed: The Lord-P when 1 was in great need,. * / sim - pie - heart - ed; mf. 7 t£= The Lord- when I was in great need,-P i-jtj- r 1 P need when 1 was in g« JP ? T I 1 •at ne ;d, he saved me. ] IN.- > he saved me. 9 J 7 P ' ' L J J ' i -J- "—£ 1—«L_ n L I r r . 1 J IH need when I was in great need,-mf he saved— me_ he T—1 -«-7 ^ -H-he saved— me. 11 12 53 -m Tempo I J = 132 "if P rs PP P 3 = £ been good :mf you. For you, pp O Lord, have de - liv-ered-P. been good Zmf you. Prrs For you,— PP. O Lord,- de been good to you. =- Pr> For you, PP have de - liv-ered P a. been —z<— good to you. I Tempo I J= 132 For you,- have de - liv - ered-N •« 1 7 ^ I —a— mf P PP 59 mp z*=k\ mf 4$ my soul from death, my soul from death,- my eyes— from tears,. mp h - t t . mf f > hi ( g ' r 1 ' L - J 1 m ? — * -liv-ered- my soul from death, my eyes— from tears,. my Q mp mf j i ? — ' 1 ' ' ' r r ' * * - i f — de-hv-ered de - liv-ered de - liv ered-mp mf 3 E £ 3 = k de-liv-ered-1 I 7 mp de - liv-ered 7 de - liv mf 4 ered-3 & de-/mp p r—i-r r p 13 nt. 64 fe fe a tempo r\ fp f my eyes— from tears, my eyes— from tears, my feet— from stum - bling, that-/ O f - J y n r m eyes— from tears, my eyes from tears, my feet- from stum-bling, that I may walk be-fore— the f r\ fp - f de - liv ered from stum-bling, f^' in the land of the liv-ing. Jf, mf And in my dis-may I Lord in the land of the liv-ing. • ffi 1 be-lieved; there-fore f I said,- And in my dis-may-0 d 0 in the land of the liv-ing. ff, mf 0 0,,. 0 0 0 , .. J I said, "1 am great - ly af-flict - ed." V"U I \ — ^ ^ Lord in the land of the liv-ing. 1 be-lieved; there-fore I said,-» mf And in my dis-may-f W W i = § t ff / p r p r p f ff mf 14 76 said, "All men are Ii - ars.' mf the Lord- I will lift up the cup and mf f I said- How can I re-pay the Lord- I will lift up the cup and mf the Lord for all hisgood-ness tome? mm the cup of sal-va-tion-mf 3 I said,-4 * r M r F the Lord for all his good-ness to me? the cup of sal-va-tion-ft. 83 d d mf P call on the name of the Lord. the Lord-mf 1 will ful-fill-P call on the name of the Lord. 1 re-pay the Lord-mf f j i l t* , »y;t»- r f W=^E 1 will ful-fill-P How can 1 re-pay the Lord for all hisgood-ness tome? 1 will ful-P the Lord for all his good-ness to me? 1 will ful-16 4 , L J g " " " 1 i _ 4 — « — * - « I love the Lord,- I love the Lord,-he heard my cry— for mer - cy. / _ fp f fP Be - cause he turned— his ear to I love the Lord,- I love the Lord,. he heard my cry— for mer - cy.- Be - cause he turned— his ear to , 5 C J p r P U P r P > s i 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 Praise the Lord. cresc. f the Lord.-cresc. Praise the Lord. Praise-the- Lord. Praise- the Lord. Praise-jt j. _ r - = & P f J J 3 i A. ~A A A A f Praise the Lord. Praise the Lord. Praise the Lord. Praise— 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—» ¥ N H N4 ff [>~f fifl — ">'- — - 4 *-f 1 MOONS OF JUPITER for piano solo 18 l . I o ca. 1'30" Allegro vigoroso J= 120 M_ /* - . a t mt v > u - 1 J F r f ¥ Thomas Borugian * «.. Bit.r r t -- - ^ • > ^ //' mf V* —1— " ! r "Note: Accidentals apply solely to the note they directly precede and are valid only for the measure in which they occur. ff mf -P 20 P mf ff mf ff ™f ff £ ff ff 21 m$t it ^ m i g 1 f fe* mf ff ff mf ff t: 4 J0f™/ / / ff mf 35) i f » i 7 ^ , * ff mp ^) ff ff s _ ^ % 5 mf 7 is 7 w ff ™P 8°b i = l l 2 . E u r o p a 23 ca. 2'00" Largo e pesante A 96 col Pedale 1 ^ ss^ " mp — • — ™^ ™^ T I 24 piu iu f mp ' > a ^ M r i i r r V 4 6 - p - i - i 4 Ur m ——nf'i T— /?oco a />oco rit. Jf >4- i 3 . G a n y m e d e 25 ca. 2'35" 108 1 > 7 ^ « -H1 i tw—?— — 1*1 * 4 > t M F '> a - « ! ! cresc. t V J 4 v — < * * r r 1 8*-' © rit. a tempo rit. a tempo *P i-p-• • f f mf P mf f -0-16 54 n7. a tempo accel. i f J a , | , 1 i^T T» t • P 4 . 3 t — -i-- ^if mp =^= i f f IT? 4 - ^ - r :zb: M -4 . C a l l i s t o 31 ca. 2'15" Espressivo ma non troppo dolce A 60 Text: Soprano Byron Delicato J= 50 STANZAS FOR MUSIC I. There Be None of Beauty's Daughters for Adrian and Paige J= 60 32 Thomas Borugian Harp Violin I Violin II PP mf mf PP mf P "if pp\ P mf. P 3 \ . —o — p ^ -mf PP mf Viola Cello PP P mf P mf p mf <P mp ">f f <p mp mf < p mP — — mf f f 33 16) mp rit. p a tempo mp There— be P ^ 1 5 * J J J ^ 4— mp < r / p sub. PP ' M l h w ir v \ • • —ZTT-e > r r = ^ pp. fe £ c ff -=d / PP (21 of Beau-ty's daugh - ters With-M r r «»: 9 V n l . k *5 F f 1 ' I « i «1 "•3 5 5 J J J h 7Bp; /Hp 34 rit. a tempo mf 35 (34) rit. a tempo mf When,. as if-mf mp / 3 f " • I I I J . » 3 3 3 3 PPP mf PPP I;I . hi , , iir r — its sound were caus - ing The charm - ed o -4— —-* 1 cean's pausing. The charm - ed =*=== fc-—«fA-(j^ 3 1 — T l cresc. 4 rf"3 Y r V — H i L H i J mp PP 36 37 38 (65) rit. J=60 ' P » 0 And the mid - night-f f f r fff n i r f f~f f cresc. ff PP ' 0 • (cresc.) ftr r f (cresc.) r\ f f 5 -m- P-(cresc.) ff PP moon is weav - ing Her— bright chain o'er the .t-mfZZZ== 4- P r r p - f PP r r r r * — • — • — * /»/» — — . pp 39 a tempo f mf i 4^ mf : E : E : E :t_ i •/ r r r = g f i g 40 a tempo (86) S i it bows be - fore thee, To lis - ten and a - dore thee; With a full but " t o " mp pp -u mp pp cresc. pp —= mp pp 41 Espressivo J =62 D O P P E L G A N G E R for solo horn i n F written for Marcia Titley I . rit. 42 Thomas Borugian \ t h \ \>f\ -a— [?r - i fel J - jj F ) "P D — -3-1 ppp mf p mp PP a tempo rit. a tempo * o - -3=£ 7 7 ^ jjj f rit. 1 3 JJJ P mf a tempo 13 r rr + + ^^^^ ^^^^mm^^ >^ - = = : i f «9» - fff 16 slower o 3 mp 1*. — i molto accel. o + — o Jv \ K ^ v Ij J J 1 J \ F Willi 111 ^ > J J ^ p E B J »?/ / P sub. f sub. ~=zzz: ff 21 "r - + ^ - + + -1 ~v * + r7\ -2 Ter npo I r iHft • J J -- 2 * 1 • Jf) 0 f 7 ' 4 • i a—JJL 7 *Note: the following indicates a gradual insertion of the hand into the bell from open to stopped: ° + 43 24 3=2: If J*H jj= mp » 0 =^j-30 j - j - 3 iU L|J- 'LU L U g l 54 wo/to acce/. -t- + + o 3 + + 3 _ + r •] f - [ — — — • — - H 5 P I -• + + + + 36 o 1 S O - - - + + o- + - - 0 ~ f — ° : f f *Tf—f D V v w w v i I f — > r~~"^  l r ^ - — i " J --I ' i - " * - — - — ° ^ + - o - - + . o Tempo i f 44 ifj - p5f i 7 f » T r* > ^ 13-^  — - — r LT* p * ft— e 1 -a— + -4 P -• ^ — > - ^ T * 44 I I . Animato J- = 100 1 1 » ^ r i - j / q a p ^ * y 4 s — ^ — L — * h 4 / rit. a tempo 45 ca. 5'00" F A I N T L Y W H I T E for Orchestra Broad and Expansive J = 69 46 Thomas Borugian 2 Oboes 2 Clarinets in B b 4 Horns in F 2 Trumpets in B b B. T b n . & Tuba T impan i Ce l lo nt. •> a tempo Broad and Expansive J = 69 , a tempo 35 (poco a poco accel.) crash cymbals ff bass drum 104 (poco a poco accel.) J - - 120 1. a2 a2 ff a2 mf ff ff crash cymbals ff bass drum ELEGY for SATB Text: Leonard Cohen Mysteriously J = e.9 Soprano Alto Tenor Bass Piano (for rehersal only) PP [m]_ pp pp [m] ah P [m] [m] " ah P [m]_ PP ah P [m] ah r r 61 Thomas Borugian rap i [m] [m] [m] [m] - ah 77/p - ah mp • ah mp ah /Hp X -A *Note: [m]—ah indicates a gradual opening of the mouth to the specified vowel; the reverse indicates a gradual closing of the mouth. 62 10 mf - ah mf [m] ah P =— pp //mp o [m] = F ° = Do look for-TJ ah [m] - - ah P Do pp //mp look mf ah [m] ah [m] Do //mp look for-- - ah [m] ah Do not look // i - 1 3 -®|S>-Jo J1- -J /5 $«& 63 64 // pp 0 b uis10 W ! T ah-//pp ah-3 E ah-// // the shore-3IE the the shore unis. pp the shore stones for his blood; 8 for his blood; for his b l o o d i shore for his blood; J J J J R a tempo mf scend - ing f unis. through cliffs "if green scend - ing / unis. o through cliffs mf slow-mp PP green-scend - ing . 2 . a. through mf cliffs Of flip slow green P ter Of-PP slow 0 ' O -ter Of_ scend - ing a tempo ^ J . through cliffs Of green - P m A ^mp X P T r—r Pp 67 55 i=at #7/. a tempo //mf wa - ter green wa - ter_ And the-//mf ^ hov / / And the hov wa - ter slow- wa - ter P 3SBE slow ter // —s— slow r/V. ter J: i a tempo //mf I r>»- I * — .8 59 i 3 1 nt. f r r p r 'ring col oured fish Kiss- his snow-bruised bod - y-0 " T 'ring col oured fish Kiss his snow-bruised bod - y-W- iJ.'.J P <•): unis. i m « • J • 0 ~# J SEE 68 a tempo 64 green wa - ter-m 4 \> d-slow— wa mp J 3 l>r I" S E E A n d — build their se-cret— nests In his flutt-'ring wind - ing sheet Of-rnp L . I . . ~ P green PP, mm • — * z * wind - ing_ sheet Of-And— build their se-cret— nests a tempo green p pp rr 0 - -OFFERTORY for violin and piano With simple clarity J = 52 69 Thomas Borugian | i I ' i i ' 1 1 1 3 n H p 9: iff £ — = & = = = £ = fP-l — » J «/ > L_ r * * Violin Piano - m - M. m fV r r r feE rit. 1—r r r r—f— — • — • 1 • • — j — < • . — » — ' rit. 0 " tempo a tempo = J fP P"^  j~n ^ m m m 70 J . 7"p =— p --- . - ^ J)J J. . . i f -p-f-f- -m-m " # f f r r f F f f r r L U 1 l P— : 9— =P-f — p— — jflTfEf & £if i : = = — PP f X r T X~ T ^ f» ^ f» p ~ • i j 4 m " L ^ r r r LX.11—r i f 1 ^ I-i J • m n rrrTTj J * • X V-0 — 01 r 4 v v 4 f cresc. F F -J • -J i J- r j * % — * = * • r simile •0-= #-= # m m 71 P i J — - J — * J ' * • — J — - A (23 i — — J -rn rn r -W LJ * - - J J # \ -• -i « ^ +• + J » • ¥ • . ^ ^ ^ ^ M — * ' m 72 11-mp -. • S- ' r-l ^ i J " f i 1 - ' ^ 4 — I . mp >>\V (V 9-= ' r J pi * • f i • 4^ =H " 1 r P = ^ i -r r h j. , il I - * • ' f W . — — < » * * j * -1 • fp-a J * » 1 73 £Sy a tempo k e/npo I J J J ( • J ' ^= » 1 Slightly slower mf — P -krt $r%r\ , J , j , j.-^ j i mf rit. i — ^ — ^ — . — - — i -7 j 7 i 7 j^* Creation's Knot for violin and piano 74 •Note: the damper pedal may be used here and in other instances to capture the "A's" and prolong their resonance. 75 76 77 78 79 

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