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Opus 25 Bolden, Benjamin 1997

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OPUS 25 by BENJAMIN BOLDEN B.Mus., Carleton University, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming ^ j^ie requketLstandard  THE UNIVERSITY OF BRITISH COLUMBIA April 1997 © Benjamin Bolden, 1997  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  M n Jg if.  • •  The University of British Columbia Vancouver, Canada  DE-6 (2/88)  11  ABSTRACT Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette. — Benjamin Bolden  Ill  TABLE OF CONTENTS  Abstract  ii  Table of Contents  iii  List of Performances  iv  Composition One  Moment (SATB choir)  1  Composition Two  You and I (SATB choir)  10  Composition Three  Bells (SA women's choir)  13  Composition Four  Ganapati Vandana (SATB choir and percussion)  21  Composition Five  Four Celtic Folk Songs  29  (Baritone Voice and Chamber Ensmble) Composition Six  Rope (Alto Flute, Clarinet, Viola)  90  Composition Seven  The Song of Songs, Which is Solomon's  97  (Soprano Voice and Piano) Composition Eight  Three Pieces for Solo Harp  103  Composition Nine  Partly for Rebecca (for Solo Piano)  114  Composition Ten  Partly for Rebecca (for Orchestra)  116  iv  LIST OF PERFORMANCES (The following performances are those recorded on the accompanying cassette.)  Choral Works Moment (SATB)  performed by the Vancouver Cantata Singers, Nov.3, 1996  You and I (SATB)  performed by the University Singers, Apr. 4, 1997  Bells (SA)  performed by UBC students, March. 15, 1997  Ganapati Vandana (SATB)  performed by the University Singers, Apr. 4, 1997  Chamber Ensembles Four Celtic Folk Songs (Baritone Voice, Flute, Clarinet, Harp, Viola, 'Cello) 1. Sally Free and Easy 2. Lie Easy My Laddie 3. Waiting  - UBC Contemporary Players, Nov. 4, 1996 - UBC students, March 15, 1997 - UBC students, March 15, 1997  4. Sixteen Come Sunday  — UBC Contemporary Players, Nov. 4, 1996  Rope (Alto Flute, Clarinet, Viola)  - UBC Contemporary Players, March 27,1996  Vocal Solo The Song of Songs, Which is Solomon's - Mari Hahn and Richard Epp, (Soprano Voice and Piano) March 15,1997 Harp Solo 1. Drifting 2. But Then... 3. Dance of the Toads  - performed by Lani Krantz, March 15, 1997  Piano Solo Partly for Rebecca  — performed by Karen K.Y. Lee, March 15, 1997  Orchestra Partly for Rebecca  - read by UBC Symphony Orchestra, Apr. 3 1997  Performance Time - 4:00 ^  Moment for SATB choir  Benjamin Bolden  energetically J = 126  text and music  Soprano  Alto  finger snaps Tenor  r  (oo...)  This  © O c t . 1996 by B Bolden  ?p r  r  1  2  3  22 ! J- -J- I  f i n j  Like  all  the  oth  -  ers  That  means  so  much  and  so  lit - tic.  -»  #  »  Like  all  the  oth""'-  crs  That  means  so  much  and  so  lit - lie  Br  Like  n  1»  all  the  is  a  \  oth  -  T<Lcrs  that  r  r  r  means  so  much  all  the  j  *»  •» lit - tie.  lit-tie  • —  -fr 4and  so  lit-tie.  »- m-'  iH  j  •lit- lie.  lit - tie  Pi  This  mo -  ment  Like  oth -  thers that  means  so  much  and  30  3=S  ii»  j  > LJ  r Br  This  »  > r  mt  i  mo - ment Like  3^*  oth - ers That  i  This  oth - ers That  mo - ment Like  That means so  much  f±  k-r—'r lit-tie.  *  •» f This  is  * a  r  J  mo - ment Like  3  r  *  all  the  r  *  r S  oth - crs That means  so  T much  ITiis  is  a  mo - mcnt  5  IT',  f  no...  J/  =  =^=^  it-  -»LW  no...  no...  *  * 4 — ^=]  UJ  no..  p-r r  no...  no...  no  f"  p-r  no...  no...  no...  no..  no  no...  no  no...  no  i» no...  no...  soloix\\\*  just  io...  a  mo mo -  ment  no...  no...  G  C  mo -  JUSl  ment.  6 faster  just  Ll84  59  ^3=  r  fj-r  no...  no...  r no  so..  no  so..  mis  faster  "  l»e  oth  -  ers  is  mo  -  menl Like  * At bar 61 the soprano solo should lade back into the choral texture almost imperceptibly.  f  is  a  mo  -  mcr  f  This  is  mo  -  menl  so...  This  is  mo  -  merit  This  is  mo  -  ment  Yes!  This  faster  is  a  mo - merit  Like  j  This  f  faster  so...  a  "'j  all  the  6  oth  -  ers  Yes!  a  ail  L. i  'ITi is  is  the  ^  a  oth  i -P  mo - ment  7  mudi so much und so  79  **  2Hf  v"l  j  =^  Y  J ,1  so  so  i J  r.f  much, so much and  kn i  i  JM JJ  J  much so much and  so  l . p l i r cr J  much and  so  _  m  lit-tle so  «  much and  so  so  lil-tle  mf  much and  so  lit-tle so  .._L. so _ much1andi much  so  much so much and  much so much and  so  much so much and  m 83  r  —~~  J^-f—J—f-FFf-P—Ffso much and  so  lil-tle  mf  so  *—  1  mf  I I so  v-  so  accent rhythm  fl  S§3 so  much and  so  so  lit-lie  so  much and  so  lil-lle so  much and  so  lil-tle  so  lit- tic so  much and  so  lit- tie  lit-tle  accent rhythm  so so  much so much and  so  so  much so much and  so  so  much so much and  so  s o  so  much  and  much  and  so  much and  accent rhythm  lit-tle  so  so  much  ami  much  8  and  lit-tic.  'ITiis  lit-He  so  so  much and  so  is  a  mo - ment  much  and  so  lit-lie  90 ,  4 ^  ~;  —i  • a  This  mo - ment  r  1  h This  • is  J  is  a  p —1— 4^ '["his j• *  mo - menl  d•  mo - ment  —  r  J  a  mo - ment -  *  P  This  is  much  a  and so  mo - ment  so  a  S  0'  mm * m= 1 =  That  means  so much and  so  'j. I-ike  1—V  That  1H 4-  —  means  so much and  11*  I.ike  all  the  oth - ers  That means  r  so  much  •  all  the  oth - ers  ment  Like  all  the  oth - ers  —  ,  •  This  is  r  r  i f :  I"his  T  •  oth - ers  much  P  •1  the  • - • * -• • - m  so  jij  oth - ers  all  much  • •  the  1  mp  f)J J J J lil A »?/'  all  1  Like  rf4  ^-  4-  .  mo - ment  Iliis  fmf  *  Like  •  mp  This  lit- tie.  •  mp  1  -  —i  i  — J  This  s  1  mp  p  -  a  mo - merit  .  .  is  a  ~rn-  and  and  and  so  so  so  r P  u  lit-tie  mo - ment  I0  You and I SATB Solemn; serious  PP  Benjamin Bolden text and music  J=  Soprano  You and I have  touched.  You and 1 can  You and I have  We shall live shall  rW„f-  JM^jLQZtt-rZTii  Bass  feel;  touched.  You and I can  t n,  ftr  feel;  Wc  shall live shall  faster J = SO Hip  E&3 shall  live  shall  live  in  each  olh  er.  "if  shall  live  You and 1  p  live  in each  olh  mf  P4  shall  live  in  each  oth  r.  You and  broaden  ,»>p  mid  ^  I  You and 1  Yuu nnd  You  nrid  You and  You and I  I  von mid I  X,—> > You and  /' You  and  I  you and I  Wc shall live  in  Wc shall live  in  We shall live  in  We shall live  I  2  tempo primo J -06  P  r  r  id 'I and I  Yon  ===^m".  P  m  You and T can  _fl  jYou  feci;  and I  can can  mp_  You and I can  feel;  You and I can  _  J 72 J= _ 72  can led can led  —°  EP.  You  .slightly slightly faster faster  'cd: —~ teel;-=^l_.  and  feel feel  You can feci  can  I'rrl  You can ted can fed  can can  feci ted  and I  fed  hnve —  can  touched.  p  f«.l feci..  J:  ==:  —  You  and I  touched.' touched. You  feel..  feci.. -/fed...  can  gradually increasing tempo and volume  mp  You  mid  you and I  •mp V  ""  You  m  a,,d  and  You  1  I  have  You  and  and  |  Yo„ and  1 louched  You and  [ touched  You  and  you  you and I  touched  and  touched  I  13  r  k>  — 1  *. ho  I 5  19  X  Ganapati Vandana SATB with Percussion  Indian Folk Song arr. by Benjamin Bolden In imitation of the relaxed vocal style of an Indian folk song, singers should be encouraged to employ a nasal tone quality, with little to no vibrato. Swooping up to pitches is entirely acceptable, as is falling away from them.  Soprano  Alto  Tenor  mf  m  Bass  (in imitation of the labia)  finger cymbals Percussion  mf i,  M  1  J  i  j  J  I  J  ba dug  i I  J  ba bm  f  ba bm  ba bm  bm . ba bm  J.  tambourine  ba bm  pcrc  ba bm  p ^ - i - j - ^ r  OJan. 13, 1997 by B. Bolden  ba dng  |  J  ba bm  |  J i  bm  "  ba bm  ~  w  2  ilk =\ § 1 3  ,  i[  I  f  aah...  - j — — , — ^  / r*>  1  nah 0 |  •s/p—  1"""""  —  aah...  •>): L—*  bm  -  J  m  ba bm  ba bm  * J I J -1 j  n  p  LU  _  M  _  ?  £  _  J  'r  11  r  »  dng  dng dng  dng  dng dng  /  V  U  dng  •  «j  J  0 ~  r  */  ka - ra  Ph ULt  l /  )  J  ~ -  ^  w  .  -ji  r  J  naa  r  -  J  |  cha - ta  "S  >  J i , ba bi  b<l dng  J «V  ?  •§  _  > * f '•' U  1  i . i •  •  dng dng  J—1 *  »  -  ba bm  J £ ?  *  A  i 7 — \  ^ *ft ?—J— -. -— 7 J 17 7 ) 2  a d Aa - nan - da  •  j  i  /  t  H  J  C—Sr  bm  -' r  ba bm  ^  r  M  18  "*—5—'—*—*  bm pcrc.  b  —r  ffl  *  ba bm  bin  J -11 J *  J  t  *  r "t  t  r  r  r r  ba bm  ba dng  •A*  ba bm  J  *  r ^  d  ba bm  J i *  S  ^ — I  'r  J  t  j  *  r  j  ~^  ba bm -1 1 'r  J * J-] i  f  H  J  X2> 3  4  32  H: aah...  aah..  aah..  aah...  5=W badng  ba bm  M * JIM M •— r $ T in*-*  pcrc.  bm  I 1  ba bm  bm  ba bm  bm  ba bm  bm  ba bm  i J ! J I * J S J I * J * J I * >H-^ r * r ^=r * r * 'f-H* * r 1  38  ^Vc  - da  pa  -  dhaa  Ve - Ve - da  pa  -  dhaa  -  •  Ip^p=f  I jIj  va  ta  Brahm  naa  -  chai  va -  ta  Brahm  naa  -  chai  \f Vc  ft  Vc - da  -m— a  bm  dng  ba bm  dng  bm  vpi r  *  ba bm  bm  ba dug  bm  ba bm  da ba bm  p  p  pa - dhaa  1  ai^jt ba bm  fl pcrc.  r  *  r  r  vpi r  *  r  ^pi r  *  r  vpi r  r  ^ r  5  4  3  $  7 -i -4—J  1  ,  1  4 -  Vc - da  pa - dhaa  Ve i«  ?  11  '  #  r  va - la  ba bm  -*  J  r  dng bm  J 11  i-J-i  bm pcrc.  — _ —  ^  ^  ba bm  *  J  J  dng bm i  i  J  naa  ba bm  i  J  ba bm  \  -  va - la  da  —-4—  r  pa - dhaa - va - la Brahm- aa  bm pcrc.  r  1  -  chai  ba dng ba ba dng i  J  bm  j ft  dug bin  P  *  J  bm  ba bm  j  J  I  J  ba bm  * J  HH nf H-Hf  ba dng  ba bm  J -i-j  11  L  :  ba dng  j  j  bm  j  ,  i  ba dng  j  t  ba  j-  6  S_h  ,  =  nan - da  (  J  ka - ra  ^ <  -,—i—i—p>p.  Ji]  chai  Au - ra na  ^ aah_.  •  d *  dk£  « J •  « « •  ^  Au - ra na  t  sa - ra -  -  t  chai  -  — m t  r  aa  swa - ti  J  H  sa - ra -  -  nan - da - ka - ra  S T " Ti  * ^ • J7  i_J  aa -  swa - tr  .  1 — 1 — f T i m  !  nan - da - ka - ra  —o— aah..  mf  i ~N ~ * *  7 _[> 1  bm  pcrc.  ba dng  r  58 ,  bm  ba  J  I  J  *  r  7p'r^~r~r  «  TO ? J  I  \  ba dng  J I J  I  ba dng  l  -J* •  tt  -  cha - ta  hai  *  d— %  Ga - na  -  bm  i . ^ J ^ r f ^ K T '  Y  v-  Naa  bm  pa - ti  ' 1— • Aa -  aah...  P  i  r  r  * ba dng  i  T  —>  nan - da  •/ _h_T>7  ka - ra  mp  dd ba bm  .  i  .  v- 1 . aJ \. Naa  aah..  -  hi  cha - ta  aah..  mp pa -  bm  pcrc.  .  u  ^ --4  pa - ti  aah..  P.  —J —d ba  i  •  JL. aah...  WT ba dng  L  J i  ba bin  T-r~r-.r  bm  J 1i t  J t  ba bm  J  11  bm  I  t  J !  aah..  ba bm  J1  aah..  ba dng  mp.  J t  ba bm  J1 I i  r —^—r * r i r * r * r * r i 1  bm  J i  ba bm  i:  J  — -•-  xi  7  Ga - na  hai  -  T>  pa - li  Ha -  ?z5f a ;  \  maa  ra  gha - ra  -cha - ta  hai  aah..  Ga  ~*  *  Ga - na  /  o  Ga - na  hai  NNP=  aah...  pa - ti  %  •  m  bm  *  J  ba bm  I J  r *r  -*  *  dug  dng  dug  •/  *  1  -  na  Ji JW | £ J  7  • •»  7hh7lp7 7 p 7 7 p f | J  B.  pcrc  -  7 7 17 7 p p  J  I  bm  dng  I  J  Jljw |  7  J bm  ba bm  *  J  I  1  J  ba bin  |4= J 1  =J=  r ?p r *  i  — * -  pa - li  Aa -  nan - da  ka - ra  naa  cha - ta  hai  Ga - na -  pa - li!  "*  Z  Jf pa - li  Aa  -  nan - da  Jf pa - li  Jf  Aa  bin  bm  ka - ra  ,  nan - da  y-Ij-Jy, 7; ^7 7. ^ " T j bin  ba dng  cha - ta  hai  clia - la  Ga  -5  Ga - na  -  Y  pa - ti!  p.  ka - ra  pa - 4i!  .. 7 ^ 7 ^ r ^ - ? ^ . l l l . . j)j ^ - J A f r ba bm  bm  ba bm  ba bm  ba bm  dng  dng  JJ' pcrc.  J) Ji7  bm  ba bm  I J I  r r-* r ? p r 1  7  3  FjFF  m m  1«  Ganapati \andana--Ganesha's Sons of Praise North Indian (Hindu) Folk Song  Aananda kara naachata hai Ganapati Hamaara ghara naachata hai Ganapati Veda padhaavata Brahmaa naachai Aura naachai Saraswati aananda kara Naachata hai Ganapati  Joyfully doing dances is Ganesha At our house is dancing Ganesha Brahma dances the teaching of the Vedas Also dances Saraswati, joyfully Ganesha is dancing  Ganesha — In Hindu mythology, Ganesha is the god of wisdom and good luck, and lord of the Ganas, or lesser deities. He was the son of Siva, the destroyer, and is invoked at the beginning of a journey, or when commencing important work, and on the first pages of books. Brahma — The Absolute god, originally conceived as entirely impersonal. Later Brahma was endowed with a personality and became the Creator of the universe, the first in the divine Triad. The Brahmins claim Brahma as the founder of their religious system. Vedas — The four sacred books of the Brahmins. The first consists of hymns, the second of chants, the third mainly of sacrificial prayers in prose and verse, and the fourth largely of hymns and spells concerned with superstitious practices. The word Veda means "knowledge". Saraswati — The goddess of learning, wisdom, and the arts.  30  31  33  35  71  77  90  91  The Song of Songs, which is Solomon's Vocal Solo with Piano  Benjamin Bolden Slow }=84  understated, yet full of awe  p  Soprano Thou  Piano  art  P  4  ad lib.  5a boldly  fair,  Thy  lips  ©April 19, 1997 by B. Bolden  let,  Thou  2  languid  Hon - ey  ghtrit JF  # ^ fi| ^  -^V —1 -TO  *l.  ~"»<S-  —j  rJ  1 J —  fi*  —  !#2  ,  are  a tempo J = if2  x  | f  and milk  rr  re 1  #  6  99 3  slight rit with fervent reverence  to maintain symmetry  (00 4  languid, yet with an increasing seme of affirmation  (blur slightly)  \o\  6  again in a reverie  tempo primo  103  J%*ee fjteees f o r  ^wfamut Voided  1. Drifting 2. But Then... 3. Dance of the Toads  \0H Drifting Freely } -84  Harp  (harmonics sounding an octave higher than written)  Benjamin Bolden  IOS 2  \09  But Then Benjamin Bolden tentatively, with rubato  J  =63  32 Harp  11 LL  mp  TO?, r r ?  —  A^  -t-H—  All  A I;  B  d '  A^  3  All  B. Bolden Feb. 19, 1997  Gb  Al  AI>  A^  f-  >  mf  j  \~>t  Al>  »  1  •  ^  _ ^ _  ^  7  ^  — • > - . -  *  P  *  v  -f  0 » •  * 1 u w  -fir  > — —m >—P-T*- * — -J—  mp  •  *  1  mf  1Jm  >— ' —  •4  -////?  L  At 9 -•»— 0 - •>- :  > %  —w—  >  •  Ill  Dance of the Toads Quick and energetic  Benjamin Bolden  m  }. = 108  Harp  7ZZ  m  zzz  ^TT  i l l  gllSS.  1 %~  h  *  k 141 ji t s  _ V  —  •  —  =f-*~  — * •  - j —  r  —i—  —  M •  — —  #  J  •  a  *  C#  G*i i  •  t — ^ -  ^  m  *  m4•—2-4 }  7  <  * r ~ ^  B. Bolden Feb. 16, 1997  Cl m  kr  -—  Ill —rri 4  l,{?  riii * J » M  -L+u — ! ? -  — 1 —| |  " ~~  -p,  ± 5  <*-?  *~#  P  El  :—-—  I 11 11 I I  gliss.  ctt  gliss.  Ft  5!  F*  in  IIH  Partly for Rebecca for piano solo  Benjamin Bolden Slow  Qva.  O  CV Piano  mf  p _9_  (sustain throughout the piece with the Sostenuto pedal)  ©Jan. 16, 1997 by B. Bolden  o  115  2  M6  Partly for Rebecca for orchestra Benjamin Bolden  Duration: 3' - 4'  ORCHESTRA 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns in F 2 trumpets 2 trombones percussion 1: Crotales, Chimes, Med. Sus. Cymbal percussion 2: Marimba, Timpani (1 28" drum) harp pianoforte violin I violin 2 viola violincello double bass score in C  117 Partly for Rebecca  Conductor Score in C Performance Tune - 4:00  for Small Orchestra  Slow ^,  Ftule 1  Trumpet 1&2  Trombone 1&2  Harp  Violin 1  Cello  fl  L  J = SS  Benjamin Bolden  II?  

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