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Compositions Roark, Timothy Benton 2007

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Compositions by Timothy Benton Roark B.Mus., Obeiiin Conservatory of Music, 2005 A T H E S I S S U B M I T T E D IN 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 FOR T H E D E G R E E O F M A S T E R OF M U S I C in T H E F A C U L T Y OF G R A D U A T E S T U D I E S (Composition) T H E U N I V E R S I T Y OF B R I T I S H C O L U M B I A June 2007 © Timothy Benton Roark, 2007 ABSTRACT The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and have performed approximately an hour of music for various media. My compositions were performed on: A Set of Various Future Times ("'... but not all'") as Foretold by Tsui Pen's Garden ofForking Paths, performed by the Bozzini String Quartet on April 28th, 2007 for the Composer's Kitchen Workshop (9.29) The Arcturus Agora, read by the Vancouver Symphony Orchestra on April 19th, 2007 (6.32) Orfeo Beyond Thunderdomel, performed by the Ad Mare Quintet for the Music in the Schools Outreach Program in a series of concerts in April, 2007 (2.50) 'Crazy Jane and the Bishop', performed on April 3rd, 2007 by Margo Levae, Mike Broder, Mark McGregor, Nicholas Jacques, Joy Yeh, and Grace Harvey and directed by Francine Dulong in the UBC Recital Hall, Vancouver, BC (9.20) The Arcturus Agora, read by the Victoria Symphony Orchestra on February 2nd, 2007 (6.04) Le Portail d'Asni, performed on January 26th, 2007 by the UBC Contemporary Players in the UBC Recital Hall (8.10) On Nights Like Tonight..., performed September 10th, 2006 by the Aventa Ensemble in the Philip T. Young Recital Hall, Victoria, B C (5.32) E Pleut, II Pleut Bergere: Variations on a Folk Melody, performed on April 8th, 2006 by Mark McGregor, Jessica Raposo, Jennifer Butler, and Sara Kalke in the UBC Recital Hall, Vancouver, BC (7.44) Sketches for Three Pianos After Paintings by G. Richter, performed on March 20th, 2006 by Jesse Popov, Aleks Szram, and Brad Stark in the UBC Recital Hall, Vancouver, BC (9.09) T A B L E O F C O N T E N T S Abstract .. • - i i Table of Contents i i i Works // Pleut, II Pleut Bergere: Variations on a Folk Melody for Women's Choir... . . . . . .1 77 Pleut Bergere: Variations on a Folk Melody for Four Flutes .13 Sketches for Three Pianos After Paintings by Gerhard Richter for three pianos: 25 On Nights Like Tonight.... fox flute, clarinet, horn, piano, 2 percussionists, violin, viola, cello, and double-bass 29 Orfeo Beyond Thunderdome for woodwind quintet ......37 The Arcturus Agora for orchestra , 45 Le Portail d'Asni for flute, clarinet, horn, piano, 2 percussionists, violin, viola, cello, and double-bass ...65 Crazy Jane and the Bishop for mezzo, baritone, flute(s), percussion, harp, and cello.... 84" A Set of Various Future Times ("'... but not all'"), Foretold by Ts 'ui Pen's "Garden of Forking Paths " for string quartet ..9& Endnotes..... 11 Bibliography 11 pat f p. Fir* II Pleut, II Pleut, Bergere Variations on a Folk Melody for Women's Choir Benton Roark Adagietto l#* Soprano 1 Soprano 2 MS m Alto 1 a: Alto 2 I P 3 l _ j j f f i r p" II pleut il pleut ber - ge - re, Pres - se tes blancs mou - tons,. Al - Ions sous ma chaum - mie - re, Al-lons sous ma chaum - mie - re,* ber-ge-re vite al-Was ©2005, Benton Roark II Pleut, II Pleut Bergere S I S2 A l A 2 wp En-pini Ions! J'en-tends sous le feuil - la - ge L'eau qui tombe a grands bruit; wvp r i' i f J pir L'eau qui tombe a grands bruit. Voi - ci, voi-ci l'o - ra - ge Voi - la 1'6-clair qui luit. I? S I S2 A l A2 • —1 • • P pr P1 — * - = — - — 1 i J r pi tends tu le ton - ner - re II roule en ap - pro - chant. Prends un ab-ri ber - ge - re 4 ~ - ' h J _h | 4fe=—, 1 * i .yi ^ ^ F 1 1 ^ . -*-4— Prends un ab-ri ber - ge - re A ma droite en mar - chant, Je vois no-tre ca 3 II Pleut, II Pleut Bergere 26 S 1 mf P 1 p i' P 1 J- i Bon - soir bornsoir ma me - re tnp S2 Et ti-ens voi - ci . ve - nir Ma mere et ma soeur An - ne qui vont 1'6-tab-l'ouv - rir. Vf- l , J . A l A 2 ba— ne Et ti-ens voi - ci ve - nir mf r " P 1 r °p r p Soir, soir bon - soir bon-soir ma 35 S 1 S2 A l r-ptr f Ma soeur An-ne bon - soir! J'a-me-ne ma ber - ge Pres de vous pour ce soir. mf „ P i Pres de vous pour ce soir. Va te sg-cher ma m, r P I T ' 'i J'a - me-ne ma ber Pres de vous pour ce soir A 2 r pibr d me Ma soeur An-ne bon - soir J'a - me-ne ma ber -II Pleut, II Pleut Bergere S 1 S2 A l A 2 4 2 A i poco rit. a tempo ™f • . • c r e s c - y / u - , ^ > / -' U i r r '•J ' l r ; "r p i f " p r , p 1 r * " " f r r "P | F P R R Au -,, pres de ?; nos ti - sons Soeur fais - lui com - pag - ni En - trez pet - its mou - tons II pleut il Y . I bp- f L M |ju. |= ~ * - f' 1 i .» Au - pres de nos ti - sons cresc... En - trez pet-its mou - tons J : .'• I J. J,, _ | J. I I J i l J * > P 1 ' ' • •• f Va te s6-cher ma mi Au - pres de ttlf cresc, ti - sons En / trez mou - tons LJ~TI..-J U J . J J u i r J t i r r ' „j. i„j , » Au - pres de ti - sons en - trez en-trez en - trez mou - tons S 1 S2 A l A 2 Pleut il pleut il pleut ber - ge - re il pleut il pleut ber - ge Pleut il pleut il pleut ber it pleut il pleut ber - ge II Pleut, II Pleut Bergere 1 -J / > l i - t i 6 n Pleut, II Pleut Bergere C'est fait al-lons pres d'el - le Eh bi te voi - la Dieu qlrel - le An An mon Dieu Ma me - re yez .- la! Sou r 7 J> I -r3r-qu'el' est be! - le qu'el' est bel - le qu'el' est bel - le! qu'el' est bel - le! vo - yez la! Sou Ah mon bel - le! bel - le! Sou - pons prends cet - te 7 II Pleut, II Pleut Bergere Bru - le-ra de - vant 8 II Pleut, II Pleut Bergere rallentando molto ritardando > PT r J i r J _ J) a tempo (quasi tempo primo) r P 1^ P I ; P T p r p s 1 S2 A l A 2 Mais tii ne man - ges -3- ~~ pas Tu te sens de l'o - ra - ge II a l a i s \ s6 tes pas II pleut i l p i jr i II II r i'r Mais tu ne man - ges pas Tu te sens de l'o - ra II a lais - s€ tes pas Mais tu ne man ' - ges pas II a lais - s6 tes pas diminuendo S 1 S2 A l A 2 pleut i l II pleut i l pleut diminuendo II pleut i l pleut i l pleut i l II pleut i l diminuendo pleut i l II pleut i l pleut i l P r p i r p p r i p r p p r p r ip II pleut i l pleut i l II pleut i l pleut i l II pleut i l pleut i l diminuendo p i r p r p i r = p II pleut i l pleut i l pleut i l II pleut i l pleut ber - ge - re i l pleut ber - ge - re 9 II Pleut, II Pleut Bergere 93 rallentando Slower S I S2 A l A 2 pleut il II pleut il pleut ber- ge re il pleut r • • r ' r = = £ II pleut il pleut ber - ge re II pleut II pleut il pleut ber - ge - re pres-se tes blancs mou-= Prxs m 1 i - 1 i>i p r p r I p H pleut il pleut ber-II pleut il pleut ber-ge - re mp pleut il pleut ^ J J 1 1 J." ^ =55 — • ! il pleut 0 • \>* II pleut il , .pleut il ber-ge - re II pleut il . pleut ber - ge 1 0 1 A S 1 S2 A l A 2 pleut il pleut ber re pre - se tes blancs mou - tons, Al - Ions sous ma chau - mie cresc... tons Al - Ions sous ma chau - mie Ber - ge - re vite al - Ions! cresc... J'en-tends sous le feuil-r p ' r p EE J -I' i J Ber - ge - re vite • al pres - se tes blans mou - tons Al - Ions sous ma chau - mie ber - ge - re vite al - Ions 10 II Pleut, II Pleut Bergere 107 f mp mf diminuendo mm* p i p 4 Ber - ge - re vite al - Ions mp J'en - tends sous la feuil - la mf ge • L'eau qui tombe a grands bruit. diminuendo Voi-la ge L'eau qui tombe a grands bruits. mf Voi - ci voi - ci l'o - ra 1 ge Voi-la l'e'-clair qui diminuendo ' J 1 I I* Ions! J'en - tends sous la feuil - la mp mf ge L'eau qui tombe a grands bruits. Voi - ci voi - ci l'o -diminuendo J . J 1 J jjj 1 T , J7> ~* * ge L'eau qui tombe a grands bruits— J'en-tends sous la feuil > la Voi - ci voi - ci l'o - ra ge 113 mp ted, p r p IT Cl mp voi - ci l'o - ra ge Voi - la 1'6-clair qui luit. Voi - la V6 - clair qui lip Sp 4 luit. mp clair" qui Voi - la 1'6 - clair qui luit 3=e ra Voi - la l'e - clair qui luit. Voi - la l'e' - clair qui luit. EEEfi L | I J J - nA' J Voi - la ¥6 - clair qui luit. clair qui 11 II Pleut, II Pleut Bergere 119 fading away from backstage <p _| rT\ J n I J H i S 1 S2 A l A 2 luit. fading away Voi - la 1'6-clair qui luit. j 0 — — clair qui Voi - la 1'6-clair qui luit. fading away Voi - la \'6 - clair qui clair Voi - la 1'^ -clair qui luit. fading away Voi - la Y6 - clair qui //luit. " 6 poco rit. S 1 S2 A l A 2 3 = £ 3E£ Voi - la l'i-clair qui luit. /7\ r7\ PPP from backstage luit. Voi - la clair qui luit. 3E£ 5 r7\ from backstage Voi - la f ^ r clair qui luit. II Pleut. II Pleut Bergere1 1.11 pleut, i l pleut, bergere, Presse tes blancs moutons, Allons sous ma chaumiere, Bergere, 'vite, allons! J'entends sous le feuillage L'eau qui tombe a grands bruit. Voici, voici l'orage, Voila 1'eclair qui luit. 2. Entends-tu le tonnere? II roule en approchant. Prends un abri, bergere! A ma droite, en marchant, Je vois notre cabane Et, tiens, voici verm-Ma mere et ma soeur Anne Qui vont l'etable ouvrir 3. Bonsoir, bonsoir, ma mere, Ma soeur Anne, bonsoir! J'amene ma bergere Pres de vous, pour ce soir.. V a te secher, ma mie, Aupres de nos tisons! Soeur, fais-lui compagnie! Entrez, petits moutons! 4.Soignons bien, 6 ma mere, Son tant joli troupeau; Donnez plus de litiere A son petit agneau! C'est fait. Allons pres d'elle. Eh bien! Done, te voila? Ah! Mon Dieu., qu'elle est belle! Ma mere, voyez-la! 5.Soupons; prends cette chaise, Tu seras pres de moi; Ce flambeau de meleze Brulera devant toi; Goute de ce laitage. Mais tu ne manges pas? Tu te sens de Forage, II a lasse tes pas. il pleut, il pleut bergere: variations on a folk melody benton roark Adagietto U[\ - 1 - _ , — , — - —! ]tr- — _ — . — — m " — — m — _ _ — m—• i m •n „ : . —r-—1—Mi # = ^ = j f L . f l ' *" from backstage £7p r n rj7 ffff f ft > 0' • 0 0-./rom backsta [r rfr f M. " ' m.0mf ft •3. -——1—V-legato mp 1 ^ 1 1 J A U= m _ tz — 1— J-L-J- : - - £ U J 1 M Flute 1 Flute 2 Flute 3 Flute 4 mp ©2006, Benton Roark Fl. 1 w 0'T0 0 . -0-Fl. 2 mf Fl. 3 onstage mf F1.4 4 4 | ^ poco rit. a tempo l i i i fading away Fl. 1 0 © fading away m F1.2^  F1.3 fading away r r P f fading awa > F1.4 / E E E E E E . .. E' E i c< m —i c-l m E E E E E E . E E 11 130. Fl. 1 Adagio dolce sempre p H. 2 i dolae Fl. 3 dolce 1 J\ F1.4 dolce iJ8 Fl. 1 /no/to espressivo R 2 mofto espressivo Fl. 3 p: if~j» F1.4 rao/to espressivo Score in C O n Nights Like Tonight— benton roark Largo Flute(s) A l t o , P i c c o l o Clarinet in BH Horn in F Percussion 1 T i m p a n i , T a m t a m L g . S u s . C y m b a l , M a r i m b a Percussion 2 B a s s D r u m , C r o t a l e s , V i b r a p h o n e Piano Tamtam r7\ l.v. Timpani smooth glissando between notes (approximate pitches) Tamtam Timpani Violin Viola Cello Double Bass ©2006, benton roark 25 senza sord. orVFeo BEYOND T H U N D e R j ) O M t \ C Score FOf% W O O D W I N D Q U I N T E T T. Benton Roark © 2006 Moderate assai . (J = 108) Flutes C, piccolo Oboe English horn Clarinet in Bt Bass Clarinet Bassoon Horn in F mp H e m > > nf ,v mp Arcturus Agora for orchestra by T. benton RoarL ©2007, T. 5enton RoarL Percussion notes: Players share the tamtam and bass drum. -Gongs can be of approximate pitch, but should aim for D flat, E, G, and B flat in the fourth octave (i.e. Dflat4, E4, etc., but other octaves are acceptable): Timpani should be tuned to: A tie from a note to a rest indicates to let the note ring. The non-pitched percussion are notated as follows: 3 E = Mallets for the vibraphone should be medium - hard. The vibraphone motor should be set to high speed. Score i n C Trie Arcturus Agora Moderato assai C l a r i n e t i n Bk 2 T r u m p e t s i n C B a s s T r o m b o n e T i m p a n i P e r c u s s i o n I luipL-ntitd Cyi ~ \ P e r c u s s i o n 2 Bass Drum. Tiimliim, Vibraphone H a r p •\ S o l o V i o l i n . 2 > f T. Benton Roark © 2006, T. B e n t o n Roark stringendo ritenuto subito B l . C l . 2 B s n s . ( 1 ) H n s . 3 , 4 B . T b n P e r c . 1 V l n . I I d i v . s T r m p t s . ^ 1 T b n s . T i m p . / > — H p . stringendo ritenuto subito Allegro T r m p t s . T i m p . B s n s . (1) T r m p c s . X T u b a T i m p . 'I s "A P n o . "~ white and black key cluster Q 1 — ^ 4 j 1 • i ' 1 v. _ i v r ff „, y r H p . - A . >1 B s n s . (1) T r m p t s . Andante Bi C I . 1 PP F l . 1 F l . 2 O b . 1 O b . 2 Bb CI. 1 BkC1.2 B s n s . (1) Hns. 1,2 Hns. 3,4 T r m p t s . T b n s . B . T b n T u b a T i m p . P e r c . 1 P e r c . 2 V l n . I V l n . 11 V i a . D . B Fl. 1 Fl. 2 Ob. 1 Ob. 2 BkCl. 1 B k C 1 . 2 Bsns. ( 1 ) Bsn. 2 Hns. 1 , 2 Hns. 3, 4 Tbns. B. Tbn. Timp. Perc. 1 Perc. 2 Hp. Vln. I Vln. II / / r ' k l 1 Vc. D.B. CT-> poco accelerando FI. 1 FI. 2 Ob. 1 Ob. 2 BlCl. 1 Bt Cl. 2 Bsns. (1) Hns. 1,2 Hns. 3,4 Trmpts. Tbns. B.Tbn. "A Timp. Perc. 1 Perc. 2 Pno. Hp. / .. f L-L ! _ A ! 1 Vln. I Vln. II Via. poco accelerando Largamente molto rallentando F 1 . 2 O b . 1 O b . 2 B s n s . ( 1 ) H n s . 1 , 2 T r m p t s T b n s . B . T b n . T i m p . V l n . I I F l . 1 O b . 2 BkCl. 1 Bsns. (1) B s n . 2 H n s . 1 ,2 T r m p t s . T b n s T i m p . Vln. II F I . 1 F I . 2 O b . 1 O b . 2 Bb Cl. 1 B k C l . 2 B s n s . ( 1 ) B s n . 2 H n s . 1 , 2 H n s . 3 , 4 T r m p t s . B . T b n . T i m p . P e r c . 2 V l n . I V l n . I I D . B . tempo rubato piu mosso F l . 1 F l . 2 O b . 1 O b . 2 B l . C I . 1 B k C l . 2 B s n s . ( 1 ) B s n . 2 H n s . 1,2 H n s . 3 , 4 T i m p . P e r c . 1 P e r c . 2 V l n . I V l n . I I V i a . V i a . d i v . P n o D . B molto rit. a tempo H 'Fl. 1 FI. 2 Ob. 1 molto rit. Ob. 2 ^Bl. Cl. 1 Bb Cl. 2 mp —= >ns. (1) Y • A Vln. I :\ i ' Vln. II Y > Via. • ' Vc. ^ D.B. mf PP TT P a tempo rit. solo FI. 1 BbCl. 1 Bl> Cl. 2 Bsns. (1) Hns. 1,2 Hns. 3 , 4 B.Tbn. Tirhp. Perc. 1 Perc. 2 Pno. Hp. Vln. I Vln. II Via. Vnvp Vc. <C\ <?\ D.B. P PP . l s £ portail d'flsni for flute(s), clarinet, horn, two percussionists, piano, violin, viola, cello, and double-bass by T. Benton Roark copyright 2006, T. Benton Roark Score in C £2 Tortaif cf"Asni benton roark Largo ( J » 4 5 ) Flute(s) A l t o , C Clarinet in Bt Horn in F Percussion 1 T i m p a n i ( 2 5 " - 3 0 " ) , T a m t a m L g . S u s . C y m b a l , M a r i m b a Percussion 2 B a s s D r u m , C r o l a l e s . V i b r a p h o n e Piano Violin Viola Cello Double Bass pp T a m t a m /T\ I. T i m p a n i smooth gtissando between notes (approximate pitches) sim. T i m p a n i Largo ( J = 4 2 ) sul ponticello V smooth glissando between notes ©2006, benton roark sul pout. in C ( c r r r r r r .4, T - r ^ , „ „ ^ u , . . t u , „ „ , „ » „ , ; ^ h JW'UIDI . . , . , , . . ! , . . , ,^ , , . _ „ , . . . , , . . Bring me to that blasted oak That I; midnight upon thestroke, (AH find safety in the tomb.) May call down curses on his head : ; Because of my dear Jack that's dead 'Cockscomb' was the least he said: The solid man and the cockscomb. Nor was he bishop when his ban Banished Jack the Journeyman, v (All find safety in. the tomb.) Nor so much as parish priest, Yet he, an old book in his fist, Cried that we lived like beast and beast: The solid man and the cockscomb. 7 The bishop has a skin, God knows, Wrinkled like the foot of a goose, (All find safety in the tomb.) Nor can he hide i n holy black The heron's hunch upon his back, But a birch-tree stood my Jack: The solid man and the cockscomb Jack had my virginity, And bids me to the oak, for he (All find safety in the tomb.) Wanders out into the night And there is shelter under it, Butshould that other come;-I spits.j The solid man and the cockscomb.; Mr r i , "CraokMaiyandthe bishop Find safetyin the grave Yesterdaylt cams • To call a ourse out of the sky Thatmbsn midnight's on the stroke: T h a t I ""^ 0 8 1 1 u p o n Lead me to the. blasted oak To send aourse before I die And All are equal ^ For he Is old and so ami Equalfor And equal There lie bishop Emg and the knave No time to loose so hurry me At midnight to the blasted tree 0 the safety of the grave testis s|>irr«-H/ctt||^ J»hve*Vk»f seUiWvly (Recited, «?$.v»reilyi w.'^h ref lect" Nor was he bishop when' .3 ban Banished Jack the Journeyman AH that find safety in the grave Nor so muah as parish priest When he cried out book in flst Thatwe lived like beastandbeast For there Be bishop, learned man. King, and the knave Yet he the missal in his flst Saidwe lived like beastandbeast Th B ™,«, . , i Tosre the learned man and the knave 7 e 0 ] i Bo°k to his flst r7\ Beast and beast.... l V Said that me lived Hke beast andbeast OssY IN Said that ne lived like beast andbeast t — — ff — ~ t. 4 Said that we lived like beast andbeast re-rcM^ t^ O'h Saidthatwe lived like beast and beast wh i"s ke.r*.o\i -said that we lived like beast Saidthatwe l i v B d l i k e beast andbeast C e l l " Said that we lived like beast and beast I whisj>e>'e<' I " • Triatold toad stool ina wood OK) is "ill" Slaokof Jay ajiddreepy eyed All find safetyla the grave j (ix) beastl if 7 i>>J a * /Mock''* 77 c A . . CimeyeTconj f-»i<d.7v)«i/t ^0 ) U U U O O U U U U U U U U ( J U U ( J U U U U U U U { J U U U U U U U i 7 All find safety in the tomb it,')) Qoie\er ilill.. TheKiIid man and the coxcomb far iljwl) r • /n>» c»Mo--ft-*- ' y ) ' aner - H o w c D a o e r 5^i"l| - a 1  i i ' « | e O fir Tfe 5.1 c A Set of Various Future Times ( ...tut not all ), Foretold ou Ts ui Pen s Garden of Forking PalLs i. In a guessing game to wkick the answer is ckess, wkick word is tke only one prohibited? Benton Roark Andante (-h = 92) Violin 1 Violin 2 Viola Cello P 5 A sen.ua.sord. rT\ Vln. 1 Vln. 2 m senza sord. mp imp m senza sord. P Via. mp P senza sord. Vic. mp ~—~mf: © 2007, T. Benton Roark Larghetto ( J - 52) II. A tiny labyrinth indeed...! poco rit. a tempo Vln. 1 Vln. 2 Via. Vic. mp \Jp senza sord. p fp Vln. 1 Vln. 2 Via. Vic. P f P — fP accel. Vln. 1 Vln. 2 Via. Vic. ft Larghetto ( J = 52) poco rit. attacca Vln. 1 Vln. 2 Via. Vic. III. I recalle J, too, tke nigkt in the middle o{ The Thousandand One Nights when Queen Scheherezade, through a magical mistake on the part of her copgist, started to tell the storij of He Thousand and One Nights... Moderate assai (J = 108) rit. a tempo Vln. 1 Vln. 2 Via. Vic. sul pont. sfi p >tr-sfz p to/ 7 molto rail. J - 52 5 9 - <(r dramatically decrease pace of trill to a standstill Vln. 1 Vln. 2 Via. Vic. Vln. 1 Vln. 2 Via. Vic. ff P m & W <Jp mf legiero mf niente Iff 8 ord. • sul pont. - • bow sound only 11 »jr - r - r - r - r -Vln. 1 Vln. 2 Via. Vic. i 6-f -*~ ord. su! pont, > . - - — > > niente tow sound only p f ord. sul pont. — bow sound only m Vln. 1 Vln. 2 Via. Vic! ord. - — —sul pont. —- - bow sound only LLLUJ ^ = = ff S9 sun. Vln. 1 Vln. 2 Via. Vic. 5 ff niente -. f mf P = P 12 s.p. bow sound only (sempre s.p.) s.p. rit. -C bout decrease pace oftrem attacca Vln. 1 Vln. 2 ^ on C bout (left side) ff fPP~=^ff 1 o^sound only (sempre s.p.) > f -C bout \PP [decrease pace oftrel Via. Vic. PP - fpp-£Jo>- sound only (sempre s.p.) on C bout (left side) f dim. -C bout decrease pace oftrefa on C bout (left side) f P P ^ ^ . f dim. IV. ...in the Pavillion of the Limpid Sun for thirteen years. Ic rallentando 13 p • - z = = — PP Adagio ( J = 7 2 ) a tempo 10 15 molto rallentando Vln. 1 Vln. 2 Via. Vic. 16 Andante = 92) V . The Chief, however, had already solved this mystery. He knew that my problem was to shout, with my {eehle voice, aho the tumult of the war, the name of the crhj called Albert... molto ritard. a tempo Vln. 1 Vln. 2 Via. Vic. w p m p P fP wvp Vln. 1 Vln. 2 Via. Vic. w PP 0-> mf w w PP w mf p Vln. 1 Vln. 2 Via. Vic. / / / Endnotes 1 .Traditional. "II Pleut, II Pleut, Bergere," in Vielles Chansons et Rondes Frangaises, edited by Rene Deloup, 34. Paris: Editions Max Eschig. 2.Yeats, William Butler. "Crazy Jane and the Bishop" in Words for Music Perhaps and Other Poems: Manuscript Materials, edited by David R. Clark, 329-335. Ithaca: Cornell University Press, 1999. 3.Borges, Jorge Luis. Ficciones. Trans. Anthony Kerrigan. New York: Grove Press, 1962. Bibliography 1. Borges, Jorge Luis Ficciones, Trans. Anthony Kerrigan. New York: Grove Press, 1962. 2. "I1 Pleut, II Pleut, Bergere" in Vielles Chansons et Rondes Francaises, (Rene Deloup, ed.), Paris: Editions Max Eschig. 3. Yeats, William Butler "Crazy Jane and the Bishop" in Words for Music Perhaps and Other Poems: Manuscript Materials. (Clark, ed.), Ithaca: Cornell University Press, 1999. 

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