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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 I l l 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) You and I (SATB) Bells (SA) Ganapati Vandana (SATB) Chamber Ensembles Four Celtic Folk Songs (Baritone Voice, Flute, Clarinet, Harp, Viola, 'Cello) 1. Sally Free and Easy - UBC Contemporary Players, Nov. 4, 1996 2. Lie Easy My Laddie - UBC students, March 15, 1997 3. Waiting - 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 - performed by Lani Krantz, March 15, 1997 2. But Then... 3. Dance of the Toads Piano Solo Partly for Rebecca — performed by Karen K.Y. Lee, March 15, 1997 Orchestra performed by the Vancouver Cantata Singers, Nov.3, 1996 performed by the University Singers, Apr. 4, 1997 performed by UBC students, March. 15, 1997 performed by the University Singers, Apr. 4, 1997 Partly for Rebecca - read by UBC Symphony Orchestra, Apr. 3 1997 Performance Time - 4:00 Moment for SATB choir Soprano Alto Tenor ^ energetically J = 126 Benjamin Bolden text and music finger snaps r ?p r r (oo...) This ©Oct. 1996 by B Bolden 1 2 3 22 ! J- -J- I f i n j j 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 lit - tie. B r lit-tie lit-tie. n 1 » \ T- r r r -fr • — i H »-m-' -• <L- 4-Like all the oth - crs that means so much and so lit - tie lit- lie. Pi This is a mo - ment Like all the oth - thers that means so much and 30 i i» j > L J 3=S 3^* r B r This mo - ment Like oth - ers That » > r mt i i mo - ment Like This oth - ers That That means so much f± * •» f * r J r * r * r S T This is a mo - ment Like all the oth - crs That means so much k-r—'r lit-tie. 3 ITiis is a mo - mcnt 5 I T ' , no... J / = f p-r r no.. no... no f" p-r no... no... io... no... no = ^ = ^ it- -»LW * no... no... no UJ =] no... no... no.. no no... * 4 — ^ i» no... no... no... no... G C soloix\\\* mo - ment. just a mo o - ment J U S l 6 59 just faster Ll84 ^3= r " ' j f f mis is a mo - mcr no so.. r fj-r faster f no... no... no so.. This is faster mo - menl so... so... This is faster mo - merit This is a mo - ment a " l»e oth - ers Yes! This is a mo - merit Like ail the oth j L. i ^ i -P This is mo - menl Like all the oth - ers Yes! 'ITi is is a mo - ment * At bar 61 the soprano solo should lade back into the choral texture almost imperceptibly. 6 7 mudi so much und so 79 2Hf j v" l l . p l v -*  _ * — Y =^ J ,1 i J r cr 1 so much and so lit-tle so much and so lil-tle mf mf .r._L. _ 1 i f r. so much, so much and so m « i k n i i I I — ~ ~ J J M J J J J^-f—J—f-FFf-P—Ff-so much and so lit-tle so much so much and much so much and so so much and so lil-tle so much so much and mf so much so much and so so much so much and so 83 m accent rhythm S§3 fl so much and so lit-lie so much and so lil-lle so much and so lil-tle accent rhythm so much so much and so so much so much and so so much so much and so so much and so lit- tic so much and so lit- tie accent rhythm so much and so lit-tle s o much and so lit-tle so much ami lit-tic. 'ITiis is a mo - ment so much and so much and 8 lit-He so much and so lit-lie 90 , -p —i mp —i • • . 1 1 4 ^ ~; • — J i d • * This a mo - ment This is a mo - ment Like all the oth - ers s p mp 1 h • 1 r J - —1— j • * 4^ 1 r J * — 'j. j i j • 1 • • This is mo - menl '["his P a mo - ment - I-ike mp all the oth - ers This is a mo - ment This a mo - ment Like mp all the oth - ers much and so so lit- tie. Iliis ment Like all the oth - ers fmf S 0' mm * r f - — • a m = 1 = 4- ^- 4 , That means so much and so much This is mo - merit f)J J J J lil r r u r P A »?/' 1 H • • • - • * -• • -m i f : . . 1—V — 4 -That means so much and so much I"his is a mo - ment 11* P T r ~rn-I.ike all the oth - ers That means so much and and and so so so lit-tie I 0 You and I SATB Soprano Bass Solemn; serious J = PP You and I have touched. You and 1 can feel; You and I have touched. You and I can feel; E&3 Benjamin Bolden text and music We shall live shall JM^jLQZtt - rZTi i r W „ f - ftr t n, Wc shall live shall faster J = SO Hip shall live shall live in each olh "if er. You and 1 p shall live live in each olh mf P4 shall live in each oth r. You and I broaden You and 1 ,»>p Wc shall live in mid I Yuu nnd You nrid I von mid I Wc shall live in You and You and I We shall live in ^ X,—> > /' You and You and I you and I We shall live 2 tempo primo J -06 P r r id 'I touched.' and I touched. You Yon and I hnve touched. mP ===^m". slightly faster J _ 72 _ — p You and T can feci; can led can feel f«.l .slightly faster J = 2 jYou and I can led can feel can _fl EP. —° mp_ — ==: You and I can feel; You can feci can I'rrl feci.. J: You and I can 'cd: You can ted can feci —~ teel;-=^ l_. can fed can ted feel.. feci... -/fed... You and You and I fed can gradually increasing tempo and volume mp You mid you and I touched •mp V"" a , , d 1 You and | Yo„ and 1 louched you and I You and I have You and m You and [ touched You and you and I touched 1 3 r k> 1— *. ho I 5 19 X Soprano 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. Alto Tenor Bass mf (in imitation of the labia) m finger cymbals mf ba dug ba bm ba bm Percussion i, M 1 J i j J I J i I J f J. ba bm bm . ba bm tambourine pcrc ba bm ba bm ba dng ba bm bm ba bm p ^ - i - j - ^ r | J | J i " ~ w OJan. 13, 1997 by B. Bolden 2 1 3 , ilk - =\ / i . i 1 . -ji § i [ j I i f - j — — , — ^ • aah... d Aa -/ a na • ? n - da ka - ra l / ) J ~ - J r J | naa - cha - ta •§ nah 0 | 1""""" r*> 1 • s / p — — * » » • dng dng dng / aah... •>): L—* i 7 — \ dng dng dng A V U • « j _ Ph r > C — S r ^ *ft ?—J— 2-. J-— bm ba bm -n * J I J -7 J 17 7 )m 11 -ba bm ba bm 1 j J £ J—1 dng dng dng 0 > J ~ r */ * f '• ' U «V w b< ULt J i , l dng ba bi " S t J bm ba bm LU p _ M ? _ £ _ J ' r ? r * J ^ H -' r ^ r M 18 pcrc. " * — 5— ' — *— * r r r •A* ^ — I S d ~^ bm ba bm bin ba bm ba dng ba bm ba bm ba bm b * J t J -11 J * J i J t j -1 1 J * J - ] ffl—r * r "t t r * J * r ^ ' r * r j ' r i f H J X2> 3 4 32 H: aah... aah.. aah... aah.. 5 = W pcrc. badng ba bm bm ba bm bm ba bm bm ba bm bm ba bm M * J I M M I i J ! J I * J S J I * J * J I * >H-^ •— r $ T in*-* 1 r * r ^=r * r * ' f - H * * 1 r 38 • I p ^ p = f I jIj ^ V c - da pa - dhaa - va ta Brahm naa - chai Ve - Ve - da pa - dhaa va - ta Brahm naa - chai \f ft p p Vc Vc - da pa - dhaa -m— a 1 ai^ jt bm dng ba bm dng bm ba bm bm ba dug bm ba bm da ba bm ba bm fl pcrc. r * r vpi r * r vpi r * r ^pi r * r vpi r r ^ r 5 4 3 , 71 - i $ 1 - 4 — J 4 - 1 Vc - da pa - dhaa - va - la Ve da i « ^ — _ — ? 11 # ' r r ^ r r —-4— va - la pa - dhaa - va - la Brahm- aa naa - chai bm ba bm dng bm ba bm ba dng ba ba dng i - J - i J 11 J i J i J dug bin P ba bm * J j J bm ba bm I J * J pcrc. HHLnf :H-Hf pcrc. bm ba bm dng bm ba bm bm ba dng ba bm ba dng bm ba dng ba -* J * J i i J \ j f t J - i - j 11 j j j , i j t j -6 S_h , = ( ^ Ji] - , — i — i — p > p . J < « J • dk£ d * nan - da ka - ra Au - ra na chai sa - ra - swa - ti aa - nan - da - ka - ra — m S T " T i 1 — 1 — f T i ^ • « « • ^ t - t - t r H J * ^ • J7 i _ J . ! m aah_. Au - ra na chai sa - ra - swa - tr aa - nan - da - ka - ra —o— aah.. mf 7 _[> i ~N ~ * * •/ _h_T>7 1 W T L—Ju—d * dd bm ba dng bm ba dng ba bm ba dng bm J I J I \ J I J I ^ J ^ ba dng ba ba dng ba bm i . i . i . i . pcrc. r * r 7 p ' r ^ ~ r ~ r r f ^ K T ' r r T 58 , « v-Y l * ' —> v-1 . hi TO tt ? J - J -* • d — % 1 • — • ^ --4 a \. J Naa - cha - ta hai Ga - na - pa - ti JL. Aa - nan - da ka - ra mp Naa - cha - ta aah... aah... P pa - ti aah.. aah.. mp aah.. pa - 11 aah.. aah.. bm ba bin bm ba bm P. bm ba bm ba dng mp. ba bm bm ba bm pcrc. i J i J i t J t J I t J ! J J t J I i J i i : T-r~r-.r 1 r —^—r * 1 r i r * 1 r * r * 1 r i J xi — -•-7 ?z5f a ; ~* * Ga - na hai Ga - na - pa - li T> \ Ha - maa ra gha - ra / -cha - ta hai Ga - na hai Ga - na - pa - ti o aah... aah.. N N P = % m • • 7 h h 7 l p 7 7 p 7 7 p f | J •» 7 Jljw | J 7 Ji JW | £ J 7 J) Ji7 B. pcrc bm ba bm * J I J dug dng • / dug bm dng ba bm bm ba bm bm J I I J * J I I J I J |4=J ba bin = J = 7 7 1 7 7 r * r * 1 p p r 1 r-* r ? p1 r i r ? p1 r * -* * pa - li — * -Aa - nan - da ka - ra naa Jf cha - ta hai Ga - na - pa - li! m pa - li Aa - nan - da ka - ra Jf , p. cha - ta hai "* -5 Z Y Ga - na - pa - ti! pa - li Jf Aa nan - da ka - ra m clia - la Ga pa - 4i! y-Ij-Jy, 7; ^ 7 7. ^ " T j .. 7 ^ 7 ^ r ^ - ? ^ . l l l . . j)j ^ - J A f r ba bm bm ba bm ba bm ba bm dng dng pcrc. bin bin bm ba dng JJ' 3FjFF 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 Slow }=84 Vocal Solo with Piano Benjamin Bolden understated, yet full of awe p Soprano Thou art Piano P 4 5 a ad lib. boldly lips fair, Thy let, Thou ©April 19, 1997 by B. Bolden 2 languid JF # ^ fi| ^ ~"»<S- —j ghtrit , Hon - ey and milk are a tempo J = if2 -^ V —1 rJ — x re 6 - T O 1 fi* !#2 | 1 # *l. J — f rr 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 1 0 3 J%*ee fjteees f o r ^wfamut Voided 1. Drifting 2. But Then... 3. Dance of the Toads \0H Drifting Freely } -84 Benjamin Bolden Harp (harmonics sounding an octave higher than written) 2 IOS \ 0 9 But Then Benjamin Bolden Harp tentatively, with rubato J = 6 3 11 LL mp 3 2 TO?, r r ? — A^ - t -H— All A I; A^ A l B d ' 3 All Gb AI> B. Bolden Feb. 19, 1997 A^ f- > mf Al> j \~>t ^ 1 * 1 » • * — • > - . - > — -fir —m >—P-T*- * > —w— • ^ P v 0 » mp -f 1 >— * — J m -J— mf At 9 •4 - • » - : L > -////? • _ ^ _ 7 ^ * 1 • w u ' — — 0 - •>- - % Ill Dance of the Toads Harp m Quick and energetic }. = 108 7ZZ m ^TT gllSS. zzz Benjamin Bolden i l l h 1 %~ t — ^ - — * • — i -=f-*~ r - j — — — k 141 * — — • M • _ V # j J i t s a • * — — G*i C# Cl i m m kr - — • ^ } 7 < * * r ~ ^ m4 •—2-4 B. Bolden Feb. 16, 1997 Ill —rr i r i i i —1 —| | — ! ? -l,{?4 * J »M -L+u " -p, ~~ <*-? ± 5 * ~ # El I 11 11 I I P : — - — gliss. ctt gliss. Ft 5! F* in IIH Partly for Rebecca for piano solo Benjamin Bolden Slow Qva. O Piano mf p _9_ CV o (sustain throughout the piece with the Sostenuto pedal) ©Jan. 16, 1997 by B. Bolden 115 2 M 6 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 Conductor Score in C Performance Tune - 4:00 Slow J = SS ^ , fl L Ftule 1 Partly for Rebecca for Small Orchestra Benjamin Bolden Trumpet 1&2 Trombone 1&2 Harp Violin 1 Cello II? 

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