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A Collection of Nine Works Philosophically Detailing Sensitive Life Subjects

A Thesis

Submitted to the Faculty of Graduate Studies and Research

In Partial Fulfillment of the Requirements

for the Degree of

Master of Music

in Composition

University of Regina

by

Peter Edward Bodnarchuk

August, 2005

Copyright 2005: P. E. Bodnarchuk


A Collection of Nine Works Philosophically Detailing Sensitive Life Subjects

A Thesis

Submitted to the Faculty of Graduate Studies and Research

In Partial Fulfillment of the Requirements

for the Degree of

Master of Music

in Composition

University of Regina

by

Peter Edward Bodnarchuk

August, 2005

Copyright 2005: P. E. Bodnarchuk

R e p ro d u c e d with p erm iss ion of th e copyright ow ner. F u r the r reproduction prohibited without perm iss ion .

141 Library and Bibliotheque et Archives Canada Archives Canada

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The author retains copyright ownership arid moral rights in this thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author's permission.

978-0-494-19216-0

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Ow 1t' Nviri• woo:woo

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Sol

Canada

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Canada


UNIVERSITY OF REGINA

FACULTY OF GRADUATE STUDIES AND RESEARCH

SUPERVISORY AND EXAMINING COMMITTEE

Peter Edward Bodnarchuk, candidate for the degree of Master of Music, has presented a

thesis titled, A Collection of Nine Works Philosophically Detailing Sensitive Life

Subjects, in an oral examination held on August 26, 2005. The following committee

members have found the thesis acceptable in form and content, and that the candidate

demonstrated satisfactory knowledge of the subject material.

External Examiner: Ms. Elizabeth Raum, Regina, SK

Supervisor: Dr. Alain Perron, Department of Music

Committee Member: Dr. Lynn Cavanagh, Department of Music

Chair of Defense: Dr. Sheila Petty, Faculty of Fine Arts


UNIVERSITY OF REGINA

FACULTY OF GRADUATE STUDIES AND RESEARCH

SUPERVISORY AND EXAMINING COMMITTEE

Peter Edward Bodnarchuk, candidate for the degree of Master o f Music, has presented thesis titled, A Collection o f Nine Works Philosophically Detailing Sensitive Life Subjects, in an oral examination held on August 26, 2005. The following committee

members have found the thesis acceptable in form and content, and that the candidate

demonstrated satisfactory knowledge o f the subject material.

External Examiner: Ms. Elizabeth Raum, Regina, SK

Supervisor: Dr. Alain Perron, Department o f Music

Committee Member: Dr. Lynn Cavanagh, Department o f Music

Chair o f Defense: Dr. Sheila Petty, Faculty o f Fine Arts


Abstract

This thesis contains nine compositions ranging in size from solo piano to large

symphonic works. The unifying theme of these works is the philosophical discussion of

life. A further subdivision of the life concept would involve abusive situations and

traumatic events such as suicide, as found in the compositions Violets and A Letter for

Michael. Please note that the differing fonts, layouts and capitalization, specifically

occurring in the works' title and authorship, are intended to demonstrate the extreme

variances and mental inconsistencies that often occur in the mind of the damaged

individual.

Each work is carefully constructed using a combination of musical theory as well

as individual freedom of choice. Once a governing theme is established the musical work

is structured accordingly. This involves decisions regarding pitch, dynamics, rhythm,

registers, and so forth, and ultimately results in a combination of specific structure and

complete freedom of choice. The usage of such a style allows room for creative

movement and growth without the lack of continuity created by an unlimited choice

factor. By utilizing such a process I have generally been able to avoid the new idea

followed by new idea repetition and in turn have built from a large, uniting construct. The

results are works that are largely coherent and concise in their execution, yet subtle and

unique in both tone colour and artistry.

It is my intention to openly discuss the uncomfortable subjects of life—abuse and

suicide—through the creative constructs of a carefully refined medium. The ultimate

purpose of these works transcends mere fleeting moments of audible pleasure; I hope to


Abstract

This thesis contains nine compositions ranging in size from solo piano to large

symphonic works. The unifying theme of these works is the philosophical discussion of

life. A further subdivision of the life concept would involve abusive situations and

traumatic events such as suicide, as found in the compositions Violets and A Letter for

Michael. Please note that the differing fonts, layouts and capitalization, specifically

occurring in the works’ title and authorship, are intended to demonstrate the extreme

variances and mental inconsistencies that often occur in the mind of the damaged

individual.

Each work is carefully constructed using a combination of musical theory as well

as individual freedom of choice. Once a governing theme is established the musical work

is structured accordingly. This involves decisions regarding pitch, dynamics, rhythm,

registers, and so forth, and ultimately results in a combination of specific structure and

complete freedom of choice. The usage of such a style allows room for creative

movement and growth without the lack of continuity created by an unlimited choice

factor. By utilizing such a process I have generally been able to avoid the new idea

followed by new idea repetition and in turn have built from a large, uniting construct. The

results are works that are largely coherent and concise in their execution, yet subtle and

unique in both tone colour and artistry.

It is my intention to openly discuss the uncomfortable subjects of life-abuse and

suicide-through the creative constructs of a carefully refined medium. The ultimate

purpose of these works transcends mere fleeting moments of audible pleasure; I hope to

i


offer courage to the survivors, enlighten and make aware those who are ignorant, and

gently dispense a compassionate ear to anyone in need of understanding.

For further clarification: the governing theme or idea (which is the underlying

structural basis of each composition) is constantly subjected to individual freedom of

choice; this often results in a very subtle connection to the final, sounding version. It

should also be stated that music, much like poetry, is open to individual interpretation,

and as such, is vulnerable to conflicting opinions. It is as unlikely that everyone who

hears these works will understand the sometimes diffused connection between the initial

idea and fmal sounding result as they are to enjoy themselves throughout.

ii


offer courage to the survivors, enlighten and make aware those who are ignorant, and

gently dispense a compassionate ear to anyone in need of understanding.

For further clarification: the governing theme or idea (which is the underlying

structural basis of each composition) is constantly subjected to individual freedom of

choice; this often results in a very subtle connection to the final, sounding version. It

should also be stated that music, much like poetry, is open to individual interpretation,

and as such, is vulnerable to conflicting opinions. It is as unlikely that everyone who

hears these works will understand the sometimes diffused connection between the initial

idea and final sounding result as they are to enjoy themselves throughout.

ii


Acknowledgment

The achievement of a Master's degree involves large financial obligations to both

the student and their immediate family. Fortunately, the achievement of several

scholarships has eased a significant load of this burden. With regards to The Faculty of

Graduate Studies, I have been graciously awarded Graduate Scholarships for both the

Fall and Winter semesters of the years 2002-3. Alongside the scholarships, Graduate

Studies has supplied me with a Teaching Assistantship for the Fall semester of 2004. In

addition, I am the first in the history of the University of Regina's Fine Arts Faculty to

receive a Master's scholarship from the Social Sciences and Humanities Research

Council of Canada—an award of $17,500 (issued in 2003).

I would like to take this opportunity to thank all of the individuals involved in

creating and issuing these scholarships. Financial awards are vital to any graduate student

because they partially ease the stresses of day-to-day living and allow the individual to

focus on their studies. Thank you, once again: your assistance has been immeasurable.

iii


Acknowledgment

The achievement of a Master’s degree involves large financial obligations to both

the student and their immediate family. Fortunately, the achievement of several

scholarships has eased a significant load of this burden. With regards to The Faculty of

Graduate Studies, I have been graciously awarded Graduate Scholarships for both the

Fall and Winter semesters of the years 2002-3. Alongside the scholarships, Graduate

Studies has supplied me with a Teaching Assistantship for the Fall semester of 2004. In

addition, I am the first in the history of the University of Regina’s Fine Arts Faculty to

receive a Master’s scholarship from the Social Sciences and Humanities Research

Council of Canada—an award of $17,500 (issued in 2003).

I would like to take this opportunity to thank all of the individuals involved in

creating and issuing these scholarships. Financial awards are vital to any graduate student

because they partially ease the stresses of day-to-day living and allow the individual to

focus on their studies. Thank you, once again: your assistance has been immeasurable.

iii

R e p ro d u c e d with perm iss ion of th e copyright ow ner. F u r the r reproduction prohibited without perm iss ion .

Dedication

The achievement of a Master's degree requires more than personal dedication and

financial support; it is, at least in part, the combined results of a group's focused efforts

on behalf of a single individual.

The first and foremost person I wish to thank is my supervisor and mentor, Dr.

Alain Perron. Dr. Perron has proven himself time and again with his vast knowledge of

the subjects at hand and is immeasurable in his ability to relate this to the student. He has

single-handedly taken me from writing quaint, acceptable compositions to concrete

professionalism. I cannot begin to thank him enough; his teaching, life lessons, and

mannerisms will constantly remain an enjoyable guideline.

I would also like to thank Dr. Barbara Reul for her warm support during my

completion of this degree. She has not only provided me with an excellent bibliographical

education but also lent a compassionate ear. Thank you.

Dr. Pauline Minevich, the Head of the Department of Music also deserves a

special thank you. She has made every attempt to make me welcome at the department

and brought to my attention many opportunities for performance, scholarships and job

placements. I only wish other music departments were headed by such a pro-student

individual as she is.

iv


Dedication

The achievement of a Master’s degree requires more than personal dedication and

financial support; it is, at least in part, the combined results of a group’s focused efforts

on behalf of a single individual.

The first and foremost person I wish to thank is my supervisor and mentor, Dr.

Alain Perron. Dr. Perron has proven himself time and again with his vast knowledge of

the subjects at hand and is immeasurable in his ability to relate this to the student. He has

single-handedly taken me from writing quaint, acceptable compositions to concrete

professionalism. I cannot begin to thank him enough; his teaching, life lessons, and

mannerisms will constantly remain an enjoyable guideline.

I would also like to thank Dr. Barbara Reul for her warm support during my

completion of this degree. She has not only provided me with an excellent bibliographical

education but also lent a compassionate ear. Thank you.

Dr. Pauline Minevich, the Head of the Department of Music also deserves a

special thank you. She has made every attempt to make me welcome at the department

and brought to my attention many opportunities for performance, scholarships and job

placements. I only wish other music departments were headed by such a pro-student

individual as she is.

iv


Dedication — family and friends

It is also necessary to mention my family and my wife Cynthia; in their devotion

and understanding, each member has been untiring of my musical passion. Words cannot

say what this accomplishment means to all of us. Thank you, with all my heart.

A last thank you goes out to all the many friends and acquaintances that I have

made while attending the University of Regina. I have learnt so much from each one of

you, not only about music, but life in general. Each of one your personal idiosyncrasies

have ultimately made my graduation so much more rewarding. I wish you all the best in

your personal life journeys.


Dedication - family and friends

It is also necessary to mention my family and my wife Cynthia; in their devotion

and understanding, each member has been untiring of my musical passion. Words cannot

say what this accomplishment means to all of us. Thank you, with all my heart.

A last thank you goes out to all the many friends and acquaintances that I have

made while attending the University of Regina. I have leamt so much from each one of

you, not only about music, but life in general. Each of one your personal idiosyncrasies

have ultimately made my graduation so much more rewarding. I wish you all the best in

your personal life journeys.

v


Table of Contents

Abstract — i

Acknowledgement — iii

Dedication — iv

Dedication - family and friends — v

Work 1— tessa: for piano 1

Work 2 — Surrealism for Andre: A Mindscape Project 8

Work 3 — Violets 47

Work 4 — A String Quartet for Kansas Abigale: 78 Celebrating the Life of the Unborn

Work 5 — Surrealism for Symphony Orchestra 92

Work 6 — Sapphire: for Distanced Trumpet and Piano 111

Work 7 — Sound Painting #1: Gwendolynn's birth 128

Work 8 — Mashed Potatoes (Adding the Milk) 132

Work 9 — A Letter for Michael 186

Appendix: Listing of Tracks on Compact Disks 1 and 2 and DVD 1; 219 all disks are attached to the back cover


Table of Contents

Abstract - i

Acknowledgement - iii

Dedication - iv

Dedication - family and friends - v

Work 1 - tessa: for piano 1

Work 2 - Surrealism for Andre: A Mindscape Project 8

Work 3 — Violets 47

Work 4 - A String Quartet for Kansas Abigale: 78Celebrating the Life of the Unborn

Work 5 - Surrealism for Symphony Orchestra 92

Work 6 - Sapphire: for Distanced Trumpet and Piano 111

Work 7 - Sound Painting #1: Gwendolynn’s birth 128

Work 8 - Mashed Potatoes (Adding the Milk) 132

Work 9 - A Letter for Michael 186

Appendix: Listing of Tracks on Compact Disks 1 and 2 and DVD 1; 219all disks are attached to the back cover

R e p ro d u c e d with pe rm iss ion of th e copyright ow ner. F u r the r reproduction prohibited without perm iss ion .

tessa: for piano

tessa was composed in a pseudo two-part form, the first of which expounds the

note A. This conception originates from my undergraduate degree where I was required

to create variations on a single note. I have built from this original assignment a

composition that encompasses all the possible octaves (as found on the piano).

The second part of this work expands from the A note into an extended pseudo

Aeolian mode examination, achieved via the constant use of the piano's damper pedal,

and further enhanced by subtle register placements of specific intervals and/or note

groupings. The composition closes with a strangely pitched cadence foreign to modal

progressions of the past.

The title of this work is obviously an individual's name. It recalls a relationship

that I am vicariously familiar with, passionately leaping in the beginning, then abruptly

changing to a winding, gentle closure. The G# that occurs in measure 101 signifies that

all is not lost nor will it be forgotten but offers a soft reminder of a special moment in

time.

The lack of capitalization suggests that while the individual does not possess the

same relationship importance she once did, her beautiful uniqueness will still constantly

remain.

1


tessa: for piano

tessa was composed in a pseudo two-part form, the first of which expounds the

note A. This conception originates from my undergraduate degree where I was required

to create variations on a single note. I have built from this original assignment a

composition that encompasses all the possible octaves (as found on the piano).

The second part of this work expands from the A note into an extended pseudo

Aeolian mode examination, achieved via the constant use of the piano’s damper pedal,

and further enhanced by subtle register placements of specific intervals and/or note

groupings. The composition closes with a strangely pitched cadence foreign to modal

progressions of the past.

The title of this work is obviously an individual’s name. It recalls a relationship

that I am vicariously familiar with, passionately leaping in the beginning, then abruptly

changing to a winding, gentle closure. The G# that occurs in measure 101 signifies that

all is not lost nor will it be forgotten but offers a soft reminder of a special moment in

time.

The lack of capitalization suggests that while the individual does not possess the

same relationship importance she once did, her beautiful uniqueness will still constantly

remain.

1


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tessa: for piano Dedicated to Mrs. Mary Lamers

Although I only knew her briefly, her smilingfaith will always remain an inspiration. Also, many thanks to Adrian Frank—your conversations are priceless.

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7


Surrealism for Andre: A Mindscape Project

Surrealism is generally considered to be the dreamlike or inappropriate blending

of images within art or literature. Within this composition you will hear a combination of

musical sounds fused together. The film for which this composition was intended,

Mindscape, is a medley of constantly changing images—as occurring in a dream. I

believed it to be ideal to model the film accordingly.

The images within the film are connected to individual instruments. For example,

the piano is related to the man. Therefore, whenever the man appears the piano will also

sound again. Of the greatest importance is the percussion, because it parallels the

landscape, both in terms of texture and density, and emphasizes extremely important

images. While the woodwinds and brass are at times assigned specific character/sound

connections, often their primary purpose is to divert the listener's attention from the

percussion, offering a subtle attempt at masking its sounds. The soprano voice is used to

provide a much-needed human element and generally depicts childhood images.

The composition's theoretical structure, a pseudo two-part form, also parallels the

film: its first section, comprised of constantly changing visuals, envelopes images from

the beginning until slightly after the house fire, while the second (encompassing only two

significant changes), ranges from just prior to the entrance of the labyrinth image to the

film's finale.

The philosophical intent of the film also revolves around these same two images,

namely, the traumatic house fire and the impossible maze. As a result, the music,

philosophically governed by these images, is firmly established within the two-part

8



Surrealism is generally considered to be the dreamlike or inappropriate blending

of images within art or literature. Within this composition you will hear a combination of

musical sounds fused together. The film for which this composition was intended,

Mindscape, is a medley of constantly changing images-as occurring in a dream. I

believed it to be ideal to model the film accordingly.

The images within the film are connected to individual instruments. For example,

the piano is related to the man. Therefore, whenever the man appears the piano will also

sound again. Of the greatest importance is the percussion, because it parallels the

landscape, both in terms o f texture and density, and emphasizes extremely important

images. While the woodwinds and brass are at times assigned specific character/sound

connections, often their primary purpose is to divert the listener’s attention from the

percussion, offering a subtle attempt at masking its sounds. The soprano voice is used to

provide a much-needed human element and generally depicts childhood images.

The composition’s theoretical structure, a pseudo two-part form, also parallels the

film: its first section, comprised of constantly changing visuals, envelopes images from

the beginning until slightly after the house fire, while the second (encompassing only two

significant changes), ranges from just prior to the entrance of the labyrinth image to the

film’s finale.

The philosophical intent of the film also revolves around these same two images,

namely, the traumatic house fire and the impossible maze. As a result, the music,

philosophically governed by these images, is firmly established within the two-part

8


surrealistic environment, the first of which allows the instrumental and vocal lines to

sound as individuals moving freely about until, in the second part, a subtly hidden force

suddenly constrains them, and thus forever robs their ability of self-expression.

9


surrealistic environment, the first of which allows the instrumental and vocal lines to

sound as individuals moving freely about until, in the second part, a subtly hidden force

suddenly constrains them, and thus forever robs their ability of self-expression.

9


Surrealism for Andre:

A Mindscape Project

4

Peter Bodnarchuk

10


Surrealism for Andre:

A Mindscape Project

*

Peter B odnarchuk

10


Instrumentation

1 flute 1 Bb clarinet

1 alto saxophone

1 trumpet in C 1 trombone

1 tuba

1 soprano voice

1 percussionist 1 vibraphone 1 marimba

1 triangle (or 2 triangles if performed by pianist and flautist) 1 set of 5 temple blocks

1 piano

Score in C

Duration: ca. 7' 30"

11


Instrumentation


1 alto saxophone

1 trumpet in C 1 trombone

1 tuba

1 soprano voice

1 percussionist1 vibraphone 1 marimba

1 triangle (or 2 triangles if performed by pianist and flautist)1 set of 5 temple blocks

1 piano

Score in C

Duration: ca. T 30”

i t



Flute

Clarinet in Bt

Alto Saxophone

Trumpet in C

Tenor Trombone

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Soprano

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Piano

A

J.60 With expressive smoothness Intensely 0. 07"

Dedicated to Andre the Giant

In kindness he lived peter bodnarchuk

(Titles: French and English)

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12


Surrealism for Andre: A Mindscape ProjectDedicated to A n d ri the G ian t p e te r b o d n a rch u k

In kindness he lived.

(Titles: French and English)0 .1 5

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cft r mf V P inf in'P

- P ""j

• / . . . inP 5 4 Triangle (if unplayable by percussionist) ilvP

44 v. I. 4 i.v. ,... i.: 4 i

.,, Muendo

i _ a

25


(River of blood)V 57"

3 f 043 ’ 00T 59

j f P mp

m p

A. Sx.

C T p t.

T .T b n .

Tba.

PPP PP

m pmp

o h - -

Vib.

M rb.

d iluendo

Trgl.

T. Bl.

mpT rian g le ( if u n p lay a b le b y percussionist) mp

mpPno. «

25


FL

Bi a.

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib

Mrb.

Trg .

T. BI.

Pno.

0 3' 08"

a t t

n

46

a J -111) PPP

46

mp

•

• r

•

J

3' 12" 3' 16"

mP

o-

r

r

••

It••6 1 6"

fr.'11

4 4

PP PPP PP 3 PP pp

PPP

1 46

3

4t

46

t inf > > > >

1 j14

4

k >

( 1p

di d

• r-

•

mf • • • •

•

f

•

9. a * Dead sounds - strike temple block and leave the mallet on it momentarily

26


3 ’ 163 ’ 123 ’ 08

mp

B t Cl.

A. Sx.

-pp ppp

C T p t

T .Tbn.

-ppp

Tba.

p pp p pppppp

Vib.

Mrb.

Trgl.

T. Bl.

Pno.

* Dead sounds - s tr ik e tem ple b lock an d leave the m allet on it m om entarily

26


3' 20" 3' 24" 3' 28"

Fl.

111. Cl.

A. Sx.

C Tpt

T. Tbn.

Tba.

S

Vib.

Mrb

Trgl

T. B1

Pno.

i 49 71.7 •

(6) C .---"-- —• J l . - . 1 <..../ ; 1. •I .........fr

# • h e "P>1) 1113 5_ inf _ f - —p

._._-......_____, 2, pp < f

1 ,

Lr' ..... __--- 0. ... PP- f p MP of 711P

49

.. ftis q.— , , „ , ". u pp --C inf mil IV

3

---a

3

6,,T, . . .

6 J"o

'

. . .

Inf > P

11.

11112

---1—Lf2

3

I f

1 : I

3 mf

_ 9: II, ,.....,...___.. dir"---.1— PP < f rip

1

. _ ..

l ..

a

i.v. •

— ----, diluendo —

iv

J J ... ... _is

mf Triangle (if unplayable by percussionist)

49 I. v. ..., --..., dlluendo

A —. 1 mi

my

6 Y

27


3' 2 0 ” 3 ’ 2 4 ” 3 ’ 2 8 ”

mp

A. Sx.

p p < f p mp

C T p t

p p mp

mT.Tbn.

mp

Tba.

Vib.

Mrb.

diluendoTrgl.

cresc.> > > v ^

T. Bl.

T riang le ( if unplayable by percussionist)

mpPno. •

27


Fl.

En CI.

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb

Trgl.

T. BI

Pno.

3' 32"

•

Pff>P

3' 36"

PP

(1st appearance of leaf) 3' 41"

3' 44"

nil

5 s2 •

f pp 7 7

P `Z.s.r=r/17

•

3' 4 0"

1n22inf PP

PPP

). •

PP 2P

52

PPP PPP PPPP

52

**

t i P InP

•

P 171PP r

inp <of 9ltpdecresc.

011 •s (x) f

52

• • c7, •

** strike the bar and leave the mallet on it momentarily

28


appearance of leaf)

3 ’ 3 2 ” 3 ? 3 6 ” y 4 1 M3 ’ 44

p p

y 40A. Sx.

CTpt.

PPP

T.Tbn.

Tba.

PPPP PPP PPP

Vib.

**

Mrb.

Trgl.

T. Bl.

Pno. <

** s tr ik e the b a r a n d leave the m allet on it m om entarily

28


FL

BI Cl.

A. Sx.

C

T Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

56 Flutter

PPPP

56

3' 48" •

Cat and house 3' 52" 3' 56"

PRP

(gently)

PP

0-

PM Flutter

InP

7 4 Flutter

li

PP PPP PPPP

6 q PP FPFP — PPP Sing upper note Flutter

.

77.

PPPP --56

PPP

7

PP

56

1 :1

ff 0 •

7 •

f P decresc.

a 11.

• 7 p 7 inf.

• • •

56

29


Cat and house3 ’ 4 8 ” 3 ’ 52” 3 ’ 56"

F lu tte r

PP(gently)

~ ~PP mp

A. Sx.

PPP mpF lu tte r

CTpL

ppp PPF lu tte r

T .Tbn.

p p Sing u p p e r notePPP

F lu tte r

Tba.

i'PP

Vib.

Mrb. decrcsc.

T. Bl.

Pno. <

29


Fl.

Bt,

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mr b.

Trg .

T. BI.

Pno.

4' 00" Flutter

Destruction of landscape 4 ' 04 "

Sine upper note

legatissimo

Appearance of house 4' OR"

- C-.... 1;\

1,, -

---i=t 11 :4,

TT-- p-- 9 .p. ?*9

-Cif J 0 , v L F. N

P f- ff 1

117P - P irri 3P f -C .f 17/ 2- "- P

'), 1;0 • t tir4 t ...,--

t...,,,...#0 ..___,.... . r . 11.• -.1,-)- P -....; EPP

--__ A. L, Without vibratoPPs 0 • r f ..)

Lt11.

Lr'11-,_ ;14 , r;

,t,. 1,14. q• inf InP -. inf PP Inf------- f P > PP

iirtf

.

59 e.....--, 1

- P

i ), 61 -417

9 : 60.P I P Sing upper note P

12i ---- -.., .

Or 9 : /

g _

/ 6 / -,

•__

1 _ = =

--

rt

el )

• . --.,-. -_ p — PPP - P PP

MP

_ _ 459 oo-ee-ay-ah -oh- oo

59 0 4

7 7 . . n 4 i

11mp 2. "'P P il

- PP , 77if PP

: f ? °. n 9 , - t ;

/ 71 P

0

-

-

-

-

-

-

„.........---

59

qf EL=

l.... ......--..

-

- ; , - •

"f' -

9 “ 1 .. " • . , th,

ped p-

30 dituendo


Destruction of landscape

Appearance nfhouse4' 08"

4* 0 0F lu tte r

leg a tiss im o

S in g u p p e r n o te

™pp mpP f-

p pW ith o u t v ib ra to

A. Sx.

< / P >PP m f

C T p t.

T .T b n .

S in g u p p e r no te

Tba.

PPmp

1> *

o o - e e - a y - a h - - -oh--------o o - - -

Vib.

mp p pM rb. p p

Trgl.

T. Bl.

Pno.

P~ d iluendo

30


Fl.

Bid.

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

.62

(The moon (Appearance of new houses)

goes down) 4' 17" (Painter

4' 13" again) 4' 12" 4' 16" 4' 20"

r v 0 t t t t t t t t t f

.... ,-1 > (Squawk (X) notes)

I m••• ••., 1 X = — = =

, _ f P 11 ---4' 1P — i -j—

ff P 6,--___.--k_SA, 62 P Flutter

> inJ * ..•4 it tip r

inf_ fp mf InP f P T 9: 6r cF — -

7: ---1-1j • 4P r t - - tit__ PP PPP PPP

z•--InP InP of — — Glissando

1111362 ,--- sand° Gliss ..............._.716,„ r 0 -

oh oo ah- oo aft

Motor on (full) ** , 4 (x) ., . .1 . . . ped - - - -• ped

- - - - • - iv 6)7 - - -•

aa •

,

7 OTl79: - - -

* 1/4 tone up *** 1/4 tone down ** strike the bar and leave the mallet on it momentarily **** - play the X notes in the squawking manner of a novice saxophone player

31

ped- - -


(Appearance of new houses)4' 17” (Painter

again)4V2.0”

(T h e m o o n goes down)4 1 13"

4f 164 f 12

BkCI.

(S q u a w k (X ) no tes)

A . Sx.

F lu tte r

C T p t.

f P m p f p

T .T b n .

Tba.

PP

m p'm p

- - o h - - oo

M o to r o n (fu ll) * * mp

Vib.

p e d 'p e d

M rb.

Trgl.

T. Bl.

Pno. •

p ed--------*** 1/4 tone dow n* 1/4 tone u p** s tr ik e th e b a r a n d leave th e m a lle t o n I t m o m en tarily * * * * . p lay th e X n o tes in th e sq u a w k in g m a n n e r o f a nov ice s ax o p h o n e p lay e r

31


Fl.

Bt

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

65

(Change of shot/ street appears) 4' 23"

4' 24" 4' 28" 4' 32"

t , , t_ 4 _ _ - 4

65 -------- --............

Lr_ .

Inf - ii p # <InP —

- -

65 /7iP if > mp /V >P Om 7

11., .231;p —P

.1 , j_i ry r r. 4 — 1 L / " 'i Y.t1

65

oh

6 (A)

ah -------.. oh ah oh_ _ _

oh"-- ..........- ah

P — f g , • i 7 Ll ; • • -_, ped . ped

• ....... i triti. > '---

_ 1 -

0 - - -

- - ] -

65

- I II •

- - -

32


(C h an g e o f sh o t/ street appears)41_23_"

4’ 28 4’ 324' 24

A. Sx.

CTpt.

T.Tbn.

Tba.

oh ah oh ah o h - -

Vib.

Mrb.

Trgl.

T. Bl.

Pno.

i

32


Fl.

Bi a.

A. Sx.

C Tpt

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

68 4 ' 36 "

(Appearance of painter) 4' 39"

(House with door opening) 4' 18"

4' 40"

(House with many doors opening) 4' 42" - 4"54"

4' 4 , 9° V ' • 6 t ., " 7 . lir

PP P f P

>'1 4 1

- t 7 1 7 t t 1 ° 1

PP With vibrato L.Cso , ti., —

P f P

— ; 0 7 n 7 — r.2

68 PP f PP >FP" m/P<nif

..., J.ir D 11- , .1

41 - r - r PP -PPP

6, 6. --....„ 1,01 il or hr

9 ' - , y ,

PP P f P f 777P

l a/9 '

_ ./

‘)

7 13a td

1

1 '/ dp i ______>' ..171

PP P f p

68 .PP 13 —

- )

.111 t17 ) ,

11 41(--

P 7- 68 --- ---

oo - - - ee - - - - ay - - ah- oh

PP P PP -<P . ' J1 i. If ./ 6 ii. 7

o h • . ir

a 7 -...

Lri t . F ll' r * r :

P PP ped

P 13 PP

J ped

•13P

• diluendo

_

41

0 — — —

. _

DI,

f 68 m. 7 ---.. —

i tti, i • ..--, Eilii ,:r" --

,.. #14 3

'MP

33 ped


(Appearance ofpainter)4 '39"

(H ouse w ith m a n y doorsopening)4' 42" - 4"54

(H ouse with door opening) 4' 3.8”4f 36 4' 44:4’ 40

PP

B iC I.

/ PPPW ith v ib ra to

A. Sx.

C T p t

PPP

T .T b n .

P f P f ™PPP

Tba.

PP

o o e e - -

PP

Vib.

PPPP■ d iluendo

M rb.

T. Bl.

m p

Pno. <

33


Fl.

11, CI.

A. Sx.

CTpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

71 4' 48" 4' 52"

(Appearance of box with toys)

54" 4' 56"

• • Q" > PP

4'PPP

' ,- „ 11' li • r r r 13 ..)

— PP —PPP P — ,77113

---. - - , _

71 of -- f P >PP PPP

---_________....,, f P -PP PPP

...., 1,---1---

7— .,___ __,J)r-.4.___

ff PP

PP

7 • i 1 .--. t

--12PP

- PPP P_ 111P't P

- r VIA ir_r....._

r 7-1 oo ay •oh ah

71

- - - ay- oh- -

- _ -

_ _ _ 4

, - 8-P

71 r --...------

II.

i

...

a.. p

A .. - - - 9: ped

34


(Appearance of box with toys)4’ 544’ 48 4' 564’ 52

mp-pppp p

A. Sx.

ppp

C T p t

ppppp

T. Tbn.

f f PP

—pp"-----------

Tba.

PPP

ppp mp

ah — ay- o h - -

Vib.

Mrb.

Trgl.

T. Bl.

Pno.

34


Fl.

Cl.

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

74

(Butterfly) (The hnx close on)

5' 00" 5' 04" 5' 02" 5' 06" - 5' 10"

Flutter 5' 08" • ^ 6 6

P .P13

— 4 LI : '1 t —

0 . 1?PP Pte — PP

—

1 . —.

,4 1

74 f •.4-

r -• q .\ a, •,,,,,,

se mf —

P 3

11 ..,... P

f 74

ill. • "."------.....----

P APP

oh

74

ee oo

_4

I

.., (8.3) -

7a

...L. c — _ ., „ _ 1 ,.. t , , ,......___ - 9: - , k , -

ped

35


5f 00"(Butterfly)

02"

5' 04"

(The hnx close on)v r . v 1 0 "

F lu tte r 5' 08

BV Cl.

JVP

A. Sx.

C T pt.

T.Tbn.

Tba.

PP

Vib.

Mrb.

Trgl.

T. Bl.

Pno. mp

ped1

35


Fl.

13‘ Cl.

A Sx

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. EL

Pno.

(The fire) 5' 10" - 5' 30"

5' 12" 77

Triangle (if unplayable by percussionist) 5' 16" 5' 20"

• Lr r f r r C.1 t ) 1 1 P LLi i 1 i

if N PP P mf

* Squawk (X) note

9 Without vibrato 1-3--,

F - 3- 1r \4P.* 11' a a

i A 6 •-7 : R,

•±_

tip

f ; _p

mp

7 7 PP

r G►issando

77

77

q

f

0 #• 4

1. v. 7 W

PP P

I. v.

• r Lr mf

I. v. I. v. > >

6 " P ' L7.2 fff

7'1

* play the X note in the squawking manner of a novice saxophone player

36


(The fire), ... 30

5' 12"T rian g le ( if unp layab le by percussionist) 5' 205' 16

Jff

S q u aw k (X) note ^ W ith o u t v ib ra to ^ ,

A. Sx.

C T pt.

Glissando

T.Tbn.

PP —

Tba.

Vib.

Mtb.

Trgl.

VPT. Bl.

Pno.

* play the X no te In th e squaw king m an n e r o f a novice saxophone p layer

36


Fl.

Bi CI.

A. Sx.

c Tpt

T. Tbn.

Tba.

S

Vib

Mrb

Trgl

T. B .

Pno.

80 I. v.

•

5' 24" I. v.

(Symbol of the clock) 5' 28"

dfluendo

5' 32"

1

if Without vibrato 6

180

• 6 > 7 f

•

t_i PP P PP

With vibrato

: w)PP — f

Without mute — —

Gli s if* 1.--------------177-------------- i ---------- 11.•I ----t- tif - iir- ----, 1.fr 1.- r3- r s: .1 -- ,, / rinf 13 PP

C nvp — of if

80

..•

SO

Sprechstimme

inf cresc.

6

if>

mP

7

aah aah nab aah

2 • 7

1.v. I. v. t t ff

7

In22

diluendo 7

—

80

•

6rf 0

* 1/4 tone up ped

37


(Symbol nf th<> Hook)S' 28" 5’ 32”

FI.

BICI.

A. Sx.

C T pt.

T.Tbn.

Tba.

5’ 24"d ilu e n d o

W ithou t v ib ra to

IPP P PP

W ith v ibratotW ithout m ute

f t O L.llff ^

P PP

Sprechstim m e

mfcrtsc. f f ™P> >_____ >

aah aah

p ■ ■ 1

R - C ' -----

r P ■■ tP

I.V. 1. V.1 V■ ' d i l u e n d o

u p 7 * * f ’ ... .. .. .. .. .. .. .

/ #

P 7 1m p

Vib.

Mrb.

Trgl.

T. Bl.

( Pm /p •

Pno. mp

i S Pk 1/4 tone up ped -

37


FL

131, Cl.

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. Bl.

5' 35" - 5' 39" (Transformation) (End of flip clock) 5' 75" 5' 36" Passively Flutter

(Labyrinth)

Without vibrato lilt *E 5e 39" 5' 40"

(The painter

in

labyrinth)

5' 44"

With vibrato P f

or'r Without vibrato 7

• •

With vibrato

• 6 PP

83 /7122

. p r .0.

r31

• •

.• • .--- 7 r .1 ., , 1 " "-• 7 n ,P Without

Without mute vibrato 3

r31 kirl,

InP 1- 3- 1

3

- 7--?, 9: _. Without mute 3

0 >

V

. ,.. , 3 3 nil— f P<Inf r- 31..R i-3 7

J J. 9' - 00 17 y I) . I I . . 6 9 k. 7 bj14

PP

83

• .

1 Motor on (1/2) P

83

ped- -

44 (x)

(.11;

U

83

4

• —P

f inP L3____

P

> mf p

tt. • fP

ped ped

38

ped- - '

ped


5' 35" - 5’ 39" (Transformation) (The painter(End o f the clock)

P ass iv e ly F lu tte riahyrinth) V 44"

W ith o u t v ib ra to

BkCI.

W ith o u t v ib ra to 7 W ith v ib ra to

A. Sx.

C T p t

mpW ith o u t m u te W ith o u t v ib ra to 3

T .T b n .

W ith o u t m u te 3

Tba.

M o to r on (1/2) P

Vib.

ped-

M rb.

Trgl.

T. Bl.

f PPno. • mp

38


FI.

131 a.

A Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BI.

Pno.

86 5' 48"

[(Closer shot on the painter) (tunnel)]

5' 52"

[(Change of shot)

((eye)]I ft / Ja.........7..L .0.f.J•Z./.....

t t 1 t t t t t t t t

5' 56"

- _

PP In F- 371- 3- 11- 3- 1

• •

• ii .

...

.86 r - 3 1- 3—u-- 3- 1 —1•

1- 3— I

3

r3 • r - 3

• •

1

/ 1

I y $ , 1- . r -, 1- I With vibrato

P

_ 9: - I IT r r

r - 3- 1 f-31 ............ 3 inf

r - 3- 1

9: 111.1' 6 F. . 0 . •it...cj -,

86,

.117-1----j-- _ • 4 • , ....._ _

.., _ _ z• 86

.13-

I,

TIPP -- ---P -

x)

l, tr. , .

ped

• iie

11 II

13- 17iP ped-

C..:

- 13

• x)

-

- - -

i

. -

86 Qf .-PP 7,.._sc ›; 5

P

•• Lf

, . j.

7 s

1 : h Pzit. ii ii

, h, 7 h 7 r - r-- 1I i I

.P PP

39


[(Closer shot on the painter)(tunnel)]S ' 4Q"

[(Change nf shot)

5* S S "5' 525' 48

5' 56

PP

A . Sx.

C T p t.

W ith v ib ra to

T .T bn .

i— i~i r—anTba.

tjrj JP j ^y f c ix j u » %

p -ped-

Vib.

M rb.

Trgl.

T. Bl.

Pno. •

PP

39


FL

131 Cl.

A. Sx.

C Tpt.

T. Tbn.

Tba.

S

Vib.

Mrb.

Trgl.

T. BL

Pno.

89

6' 00"

7— sp f

[(Eyes of the painter)

(face in clear view)]

6' 03'' [Eyes of the painter (closer shot)]

With vibrato 6' 05" 6 08"

C.--• •

Without vibrato

—13

1— 3 — I • • •

89

p

_

1, II 41

• • ---t: ... 6 lo, cc.: 7 , —

....--

r c.....ntP

Gliss.

6(9. r 5'...: / - / 4; " —. r -3- 7 3

PP <P r_ 3-1

7 Sing upper notes 3

—p

9' .

2•

i i . u [ , I

I /

.

) I, • • r'''''...., r—i I I. J

89

89

' (

f sub. p

c) c) f sub. p

Et

— PP

4 0

t) (4) 7

PP

89 PP

p

• ••• • 0.

7 )

7

PPP

7 PP

40


[(Eyes o f the painter) 6 T 0 0 " (face in clear view)]

6 f 03 [Eyes of the painter (closer shot)}6 ' 05 6 ' 08W ith v ib ra to


>jVP

A .S x .

C T pt.

m p

T.T bn.

S ing u p p er notes

Tba.

w

sub. p VP

Vib.

sub . p

M rb.

Ttgi.

T .B I.

Pno. •

VP

40


(The painter is lost in thought;

he saw many paintings)

Fl.

Bk CI.

A. Sx.

C Tpt.

T. Tbn.

Tba

S

Vib.

Mrb

Trgl

T. B1

Pno.

92

6' 10" LI 6

6' 16" 6' 20"

• I ., r---2. L21,----r 6 li i,.• 1 7 /

6' 12" inf - p

c....: inP inf — f

... 4Without vibrato 7 >

41'h.. 1 1. — _

92 PP 13 ff

f

f 9.

PPP

9'

J 60

Without vibrato r—s-

11 •

r •

PP —

9)

= =4. DV "Er W.

PP

ffs >p

if

=

PP

s- 1

Sprcchstimme

9 2,p

92

~ 4 F f FF 4 PP mf

41


(The painter is Inst in thought;

he saw many paintings)

6 ' 16 6 ’ 20

6 ' 12BIC1.

W ith o u t v ib ra to 7 >

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46


Violets

This work, divided into four sections, pertains to the subject of abuse. Through

musical portrayal, it journeys the listener from the eight different types of abuse an

individual may suffer to the healing process required once the trauma has passed, and

then a final moment for personal reflection.

Violets was chosen as the title because the beauty of this gentle flower contradicts,

and therefore hides, what is actually occurring within, that is, beneath the surface

environment. Furthermore, the violet is considered to be the symbol of mourning, an

appropriate image of the subject at hand.

The cover page displays the mental state of the abused individual attempting to

write the word violets. At first the word is very large and distorted but, slowly and surely,

as the healing process unfolds, the individual gains control and overcomes their troubled

past.

47


Violets

This work, divided into four sections, pertains to the subject of abuse. Through

musical portrayal, it journeys the listener from the eight different types of abuse an

individual may suffer to the healing process required once the trauma has passed, and

then a final moment for personal reflection.

Violets was chosen as the title because the beauty of this gentle flower contradicts,

and therefore hides, what is actually occurring within, that is, beneath the surface

environment. Furthermore, the violet is considered to be the symbol of mourning, an

appropriate image of the subject at hand.

The cover page displays the mental state of the abused individual attempting to

write the word violets. At first the word is very large and distorted but, slowly and surely,

as the healing process unfolds, the individual gains control and overcomes their troubled

past.

47


Vsieol Mal eilit

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48


t s ^ e t i o l w o k t s V i o C t s v I L e o t s v o i f e t s violets. . .

aQ¥

48


Dedicated to Wilma Wessel, a wonderful singer, choir director, teacher and friend.

The kindness you have shown Cynthia and myself will be fondly cherished. Thank you so very much.

49


Dedicated to Wilma Wessel, a wonderful singer, choir director, teacher and friend.

The kindness you have shown Cynthia and myself will be fondly cherished.Thank you so very much.

49


Comments to Audience:' The music you are about to hear alludes to the subject of abuse. Unlike other musical depictions, you will not be bombarded with loud, boisterous sounds attempting to suggest the pain and anguish suffered or currently being suffered by the individual or individuals. Instead you will be audibly escorted on a gentle, healing journey. By means of four specific movements, the listener is guided through the eight possible abuses one may endure, to the actual depiction of the abusive event and the individual's selfless quest for freedom from their traumatic past.

Program notes for the audience:2

The faffof the house of usher Movement I of Violets

The textbook entitled, Forgiveness: How to Make Peace With Your Past and Get On With Your Life by Dr. Sidney B. Simon and Suzanne Simon (New York: Warner Books, 1990), describes eight precise types of abuse that an individual may endure, namely: disappointment, rejection, abandonment, ridicule, humiliation, betrayal, deception, and abuse (specifically, violent child abuse). Since all of these abuses are equal in terms of the traumas they inflict, this will be musically represented via eight cells melding into one another. The return of cells 1 and 2 is simply a musical choice, not a philosophical one.

The Haunted House Movement II of Violets

This movement interpretively presents the listener with the story of the actual abusive event; the musical introduction offers a surface environment that is very different from the seeming stable home life of the familiar ternary ABA' form. However, when the sounds of the home environment finally conclude, we hear the unfortunate results, as contained within the lost, unanswerable sound of the abused individual, represented by the pseudo C section/codetta.

LENORE Movement III of Violets

In Lenore, we once again retum to the theories described in the Simons' book, to musically reveal the healing process that all abused individuals must undergo if they are ever to free themselves from their physical, mental and emotional baggage and reclaim their life. The healing process is comprised of six steps, listed and described as follows: 1) denial — here one attempts to downplay the impact of the abuse in their own life, 2) self-blame — the individual now assumes that the abuse was for some reason their fault, 3) victim — an awareness of the abuse is felt and a period of self-pitying begins, 4) indignation — the individual is very angry at the abuser(s) and also with the world, they want others to suffer as they have, and thus feel their personal anguish, 5) survivor — period of self-awareness begins, this includes a returning of their ability to be compassionate, as well as contemplating subject matters beyond

•their own pain, and 6) integration — a final acknowledgement of their abusers is initiated, and with it the abused begins to reclaim their life by redirecting their own energies from the past negatives into future positives.

Musically, these six steps are again described by six specific cells, as they journey the individual towards a final, inner peace.

Cherub Movement IV of Violets

This movement offers you, the listener, a final moment for personal reflection. Do you or have you hurt or abused others? (Generally speaking, we all have at one time or another.) Therefore, how may we (both as individuals and as a society) rectify such transgressions? Do you know of individuals who have been abused or are currently being abused? How might you help them?

Remember, the kind or hurtful words you choose to say or not to say might very well save someone, even a stranger. We must also carefully guard our actions; otherwise, undesirable consequences may arise.

What we do and say, be it from the perspective of a father, mother, brother, sister, friend, role model or stranger, matters a very great deal.

Thank you so very much for your compassionate ears.

Prior to the actual stage entrance of the ensemble, please read this short explanatory paragraph to the audience. 2 Please include these program notes (in the appropriate language of the attending audience) wherever, and whenever, this composition is performed. Thank you.

50


Comments to A u d ie n c e The music you are about to hear alludes to the subject of abuse. Unlike other musical depictions, you will not be bombarded with loud, boisterous sounds attempting to suggest the pain and anguish suffered or currently being suffered by the individual or individuals. Instead you will be audibly escorted on a gentle, healing journey. By means of four specific movements, the listener is guided through the eight possible abuses one may endure, to the actual depiction of the abusive event and the individual’s selfless quest for freedom from their traumatic past.

Program notes for the audience:2

‘Ihefattofthe House o f usherMovement I of Violets

The textbook entitled, Forgiveness: How to Make Peace With Your Past and Get On With Your Life by Dr. Sidney B. Simon and Suzanne Simon (New York: Warner Books, 1990), describes eight precise types o f abuse that an individual may endure, namely: disappointment, rejection, abandonment, ridicule, humiliation, betrayal, deception, and abuse (specifically, violent child abuse). Since all o f these abuses are equal in terms o f the traumas they inflict, this will be musically represented via eight cells melding into one another. The return o f cells 1 and 2 is simply a musical choice, not a philosophical one.

The Haunted HouseMovement II of Violets

T his m ovem ent in terpretively presents the lis tener w ith the s to ry o f the actual abusive event; the m usical introduction offers a su rface environm ent th a t is very d ifferent from the seem in g stable hom e life o f the fam ilia r ternary A B A ’ form . H ow ever, w hen the sounds o f the h om e environm ent finally conclude, w e h e a r the unfortunate results, as contained w ith in the lost, unansw erable sound o f the abused individual, represented b y the pseudo C section/codetta.

LENOREMovement III of Violets

In L enore, w e once again re turn to the theories described in the S im ons’ book, to m usically reveal the hea ling p rocess that all abused individuals m ust undergo i f they are ever to free them selves from their physical, m ental and em otional b aggage and recla im their life. T he healing process is com prised o f six steps, listed and described as follows: 1) denial - here one a ttem pts to dow nplay the im pact o f the abuse in their ow n life, 2 ) self-blam e - the indiv idual n o w assum es th a t the abuse w as fo r som e reason the ir fau lt, 3) victim - an aw areness o f the abuse is fe lt and a period o f self-p ity ing begins, 4 ) indignation - the indiv idual is very ang ry a t the abuser(s) and also w ith the w orld , they w an t others to suffer as th ey h ave, and thus feel the ir personal anguish , 5 ) su rv ivo r - period o f self-aw areness begins, this includes a re turn ing o f their ab ility to be com passionate, as w ell as con tem plating sub jec t m atters beyond their ow n p a in , and 6) integration - a final acknow ledgem ent o f the ir abusers is initiated, and w ith i t the abused begins to recla im their life b y red irecting their own energies from the p ast negatives in to fu tu re positives.

M usically, these s ix steps are again described b y s ix specific cells, as they jo u rn ey the indiv idual tow ards a final, innerpeace.

CherubMovement IV of Violets

T his m ovem ent o ffers you, the listener, a final m om en t fo r personal reflection. D o you or h ave you h u rt o r abused others? (G enerally speaking, w e all h ave a t one tim e or another.) T herefore, h o w m ay w e (both as individuals and as a society) rec tify such transgressions? D o you know o f individuals who have b een abused o r a re currently being abused? H ow m igh t you h e lp them ?

R em em ber, the kind o r hu rtfu l words you choose to say or n o t to say m igh t very w ell save som eone, even a s tranger. W e m u st also carefully guard our actions; o therw ise, undesirable consequences m ay arise.

W hat w e do and say, b e i t from the perspective o f a father, m o ther, b ro ther, sister, friend, ro le m odel o r stranger, m atters a very greatdeal.

Thank y o u so very m uch f o r y o u r com passionate ears.

1 P rior to the actual stage entrance o f the ensem ble, p lease read th is sho rt explanatory paragraph to the audience.2 Please include these p ro g ram notes (in the appropriate language o f the a ttending audience) w herever, and w henever, th is com position is perform ed. T hank you.

50


The fall of the house of usher

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Cherub Movement IV of Violets

Instructions and Comments to the Audience (spoken aloud): With respectful memories and thoughts of those individuals who have endured and/or continue to endure abusive situations; a brief moment of silence will now be observed.' Please refrain from clapping. Thank you.

Performance Instructions: Upon completion of the third movement (Lenore), please return your individual instruments and accessories2 to their appropriate non-performance, resting positions, and then stand quietly.3 Once the Instructions and Comments to the Audience are completed, please bow your heads; wait for the lights to dim to absolute darkness, and then walk offstage.4

Peter Bodnarchuk

1 Silence is to be a minimum of two minutes. 2 Accessories include: music stands, mallets, the actual music, and so forth. 3 During this initial standing moment, one of the performers may read the Instructions and Comments to the Audience. 4 The audience and stage lights should be dimmed to complete darkness during the bowing of the performers' heads. After the moment of silence is over, please illuminate the room accordingly, revealing a stage containing only the performers' instruments and accessories.

77


CherubMovement IV of Violets

Instructions and Comments to the Audience (spoken aloud): With respectful memories and thoughts of those individuals who have endured and/or continue to endure abusive situations; a brief moment of silence will now be observed.1 Please refrain from clapping. Thank you.

Perform ance Instructions: Upon completion of the third movement (Lenore), please return your individual instruments and accessories2 to their appropriate non-performance, resting positions, and then stand quietly.3 Once the Instructions and Comments to the Audience are completed, please bow your heads; wait for the lights to dim to absolute darkness, and then walk offstage.4

Peter Bodnarchuk

1 Silence is to be a minimum of two minutes.2 Accessories include: music stands, mallets, the actual music, and so forth.3 During this initial standing moment, one of the performers may read the Instructions and Comments to the Audience.4 The audience and stage lights should be dimmed to complete darkness during the bowing of the performers’ heads. After the moment of silence is over, please illuminate the room accordingly, revealing a stage containing only the performers’ instruments and accessories.

77

R e p ro d u c e d with pe rm iss ion of the copyright ow ner. F u r th e r reproduction prohibited without perm iss ion .

A String Quartet for Kansas Abigale (Celebrating the Life of the Unborn)

This work offers a process of life from beginning unto death. It is comprised of

one movement divided up into three subsections and one returning image—presented in

3/4 time. The first subsection suggests youth, as it is very slow and confined, not unlike

many childhoods, i.e., youth seems very controlled by our parents and the years appear to

drift by very slowly. The second subsection portrays adulthood to approximately the age

of sixty. It moves excessively and with great aggression, compounded by the constant

meter changes that enhance the tension at which these years seem to go by. This mood is

also supported by the section's shorten duration, as compared to its counterparts. The

final subsection moves at a gentle pace with much less agitation and aggression—in hope

of a peaceful, enjoyable retirement.

The inadvertent seeming % section represents a perfect childhood memory, akin

to Rosebud in Citizen Kane. It occurs throughout the work in different voicings and

tempos—suggesting that the perfect memory of childhood has become tainted and altered

by life's progression. The work ends with a last, fading thought of the perfect childhood

memory, and ultimately closes with gentle, dying heartbeats.

Philosophically speaking, this composition endeavours to offer life to the unborn

child by drawing attention to this missed opportunity of a full life. The differing cover

page title (compare with the title found on the musical score itself) signifies the cut-short

life of the unborn, while the $ and % symbols suggest humankind's wanton greed and

untiring arrogance regarding innocent life.

78


A String Quartet for Kansas Abigale (Celebrating the Life of the Unborn)

This work offers a process of life from beginning unto death. It is comprised of

one movement divided up into three subsections and one returning image—presented in

3A time. The first subsection suggests youth, as it is very .slow and confined, not unlike

many childhoods, i.e., youth seems very controlled by our parents and the years appear to

drift by very slowly. The second subsection portrays adulthood to approximately the age

of sixty. It moves excessively and with great aggression, compounded by the constant

meter changes that enhance the tension at which these years seem to go by. This mood is

also supported by the section’s shorten duration, as compared to its counterparts. The

final subsection moves at a gentle pace with much less agitation and aggression—in hope

of a peaceful, enjoyable retirement.

The inadvertent seeming % section represents a perfect childhood memory, akin

to Rosebud in Citizen Kane. It occurs throughout the work in different voicings and

tempos—suggesting that the perfect memory of childhood has become tainted and altered

by life’s progression. The work ends with a last, fading thought of the perfect childhood

memory, and ultimately closes with gentle, dying heartbeats.

Philosophically speaking, this composition endeavours to offer life to the unborn

child by drawing attention to this missed opportunity of a full life. The differing cover

page title (compare with the title found on the musical score itself) signifies the cut-short

life of the unborn, while the $ and % symbols suggest humankind’s wanton greed and

untiring arrogance regarding innocent life.

78


gt String Quartet for Can

(Celebrating the igfe of the

$ &%

Peter Boc(narchu1

79


?l String Quartet for %an( C e f e h r a t i n g t h e U l f e o f t h e

$ &%

Veter ‘Bodnarcfmk

79


Notation

(!) - Bart& pizzicato

its% - fingernail or snap pizzicato

+ - left hand pizzicato

r‘p - extreme vibrato

col legno tratto - simultaneously using the wood and hair of the bow

Z - very rapid, non-rhythmized tremelo

r - highest note possible

i - approximate the pitch

Duration: ca. 12 minutes

80


Notat ion

A - Bartok pizzicato

- fingernail or snap pizzicato

+ - left hand pizzicato

' V * - extreme vibrato

col Iegno tratto - simultaneously using the wood and hair o f the bow

Z - very rapid, non-rhythmized tremelo

|t - highest note possible

j< - approximate the pitch

(Duration: ca. 12 minutes

80


A String Quartet for Kansas Aiigare

Violin I

Violin II

Viola

Cello

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yin. II

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VIn. 11

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(Celebrating tfit Lift oft& Unborn)

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Peter Boinarchuk ord.

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91


Surrealism for Symphony Orchestra

This work, originally entitled Surrealism for Andre, was designed for a chamber

ensemble in conjunction with a silent film. It was then re-orchestrated for symphony

orchestra as partial fulfillment of my Advanced Orchestration course. On a side note, this

work received a read through performance by the Thunder Bay Symphony Orchestra in

January of 2004.

The composition's structure is a pseudo two-part form. The first section is

comprised of constantly changing aural images, derived from a very free, unrestricted

musical environment. Here we find themes but no significant motivic development. In,

addition, the use of rhythmic freedom further articulates ease of movement, while the

widely and constantly varying dynamic ranges enhance the disjunct melodic lines,

ultimately creating individualism within the musical voices.

The second section (in comparison with the first) is extremely limited regarding

image generation, as the observant listener will quickly realize. This is due to the

constraining, limiting parameters suddenly placed upon the rhythm, pitch, melodic line

(note that it is now rather conjunct), dynamics and motivic development (no longer

thematically based), creating an atmosphere of non-individuality with regard to the

musical voices.

With respect to the philosophical intent of the work, it remains best described by

the same two images, the first of which allows the voices to resound as individuals

moving freely about, until a subtle, hidden force suddenly constrains them, and thus

forever robs their ability of self-expression.

92


Surrealism for Symphony Orchestra

This work, originally entitled Surrealism for Andre, was designed for a chamber

ensemble in conjunction with a silent film. It was then re-orchestrated for symphony

orchestra as partial fulfillment of my Advanced Orchestration course. On a side note, this

work received a read through performance by the Thunder Bay Symphony Orchestra in

January o f2004.

The composition’s structure is a pseudo two-part form. The first section is

comprised of constantly changing aural images, derived from a very free, unrestricted

musical environment. Here we find themes but no significant motivic development. In,

addition, the use of rhythmic freedom further articulates ease of movement, while the

widely and constantly varying dynamic ranges enhance the disjunct melodic lines,

ultimately creating individualism within the musical voices.

The second section (in comparison with the first) is extremely limited regarding

image generation, as the observant listener will quickly realize. This is due to the

constraining, limiting parameters suddenly placed upon the rhythm, pitch, melodic line

(note that it is now rather conjunct), dynamics and motivic development (no longer

thematically based), creating an atmosphere of non-individuality with regard to the

musical voices.

With respect to the philosophical intent of the work, it remains best described by

the same two images, the first of which allows the voices to resound as individuals

moving freely about, until a subtle, hidden force suddenly constrains them, and thus

forever robs their ability of self-expression.

92


Surrealism for symphony orchestra

4

Peter Bodnarchuk

93


Surrealismfo r symphony orchestra

*

<Veter <BocCnarchu^

93


Instrumentation

1 piccolo 1 flute 1 oboe

1 english horn 1 Bb clarinet

1 bass clarinet 2 bassoons

2 horns in F 2 trumpets in C

1 trombone

timpani

1 percussionist 1 triangle

1 set of 5 temple blocks 1 vibraphone 1 marimba

1 piano

strings

Score in C


94


Instrumentation


1 english horn1 Bb clarinet

1 bass clarinet2 bassoons

2 horns in F2 trumpets in C

1 trombone

timpani

1 percussionist1 triangle

1 set of 5 temple blocks 1 vibraphone 1 marimba

1 piano

strings

Score in C


94


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Sapphire: for Distanced Trumpet and Piano

I chose Sapphire for the title because the piece reflects a crystalline pureness, and

because a sapphire, when looked upon from different angles, evokes the subtle texture of

the music, in both its innocent nature and gentle character. Furthermore, the sapphire is

thought to evoke mental clarity and represents truth, sincerity and faithfulness. It is

regarded as the most sacred of all gemstones, bearing the rubric Stone of Destiny, and is

believed to be the symbol of heaven and joyful devotion to God.

The overall form of the work is: Introduction—A—B—A'—Coda,1 and while not

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1 This may be considered a pseudo ternary form; as section lengths do not strictly conform to classical style. See: Introduction (4 nun.)—A (64 mm.)—B (82 mm.)—A' (69 mm.)—Coda (1 mm.).

111


Sapphire: for Distanced Trumpet and Piano

I chose Sapphire for the title because the piece reflects a crystalline pureness, and

because a sapphire, when looked upon from different angles, evokes the subtle texture of

the music, in both its innocent nature and gentle character. Furthermore, the sapphire is

thought to evoke mental clarity and represents truth, sincerity and faithfulness. It is

regarded as the most sacred of all gemstones, bearing the rubric Stone of Destiny, and is

believed to be the symbol of heaven and joyful devotion to God.

The overall form of the work is: Introduction—A—B—A’—Coda,1 and while not

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composition attempts to represent the classroom process in which child after child repeats

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1 This may be considered a pseudo ternary form; as section lengths do not strictly conform to classical style. See: Introduction (4 m m.)-A (64 mm.)-B (82 m m .)-A’ (69 mm.)-Coda (1 mm.).

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The title of this work suggests a certain placement of instruments; one that creates

an environment that often masks the audience's aural perception through

staggered dynamics and distance. Therefore, it is suggested that the instruments are placed in such a

manner that the audience is seated between them—ideally the piano is located stage left or right while the trumpet

is placed in a balcony above the audience (preferably out of view) directly opposite to the piano. It is also suggested that

the room utilized be large enough to assist in the masking of instrument entries.

Please keep in mind that the above are ideals and not absolutely necessary nor always possible due to the performance difficulties such placements may create.

113


The title o f this work suggests a certain placement o f instruments; one that creates

an environment that oftenmasks the audience's aural perception through

staggered dynamics and distance.Therefore, it is suggested that the instruments are placed in such a

manner that the audience is seatedbetween them— ideally the piano is located stage left or right while the trumpet

is placed in a balcony above the audience(preferably out o f view) directly opposite to the piano. It is also suggested that

the room utilized be largeenough to assist in the masking o f instrument entries.

Please keep in mind that the above are ideals and notabsolutely necessary nor always possible due to the performance difficulties such placements may create.

113


Trumpet in C

C Tpt.

Pno.

Piano

6

Emir distanced truimpet amid piano

J=90 * 00

71-6 p cresc.

J=90 t?

1

a kt.it•

peter bodnarchuk

J=120

• ■

•

3

J PP

f J=120 An Aggressive Dance

Performed Mechanically

R.H

ped

72

rit. J=60

(No pedal)

r r J

6

r r * if possible, please sing upper pitch

© 2004

F r ar J

M. J= 60

rR.H.

6

114

r r F 6rr J


S a p p M i r ®fo r d isf ta iesd t a m p a t a i d pirn©

peter bodnarchuk

=120

Trum pet in C

S=120 An A ggressive D ance

P e rfo rm ed M echanically

PP r r.h.Piano

(No pedal)

1 ■ 1-------- w—...- ....rit. m~ou

—*— ------------

h s ; - . i~ i— *—0

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riL J = 6 0

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r a r r H

\ h j JL - t — ^ ■t— i s f i - - b r r - - r - r 0

* i f possible, p lease sing u p p e r p itch

©2004

114


12 J=120accel.

C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

MO ION

12

R.H. r op;

18

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r 6rcresc. (to m. 68)

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115

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C T pt.

Pno.

115


30

C Tpt.

Pno.

C Tpt.

Pno.

C Tpt

Pno.

30

6

36

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Pno.

*C Tpt.

■#R.H.R.H.Pno. R.H.

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116

R e p ro d u c e d with pe rm iss ion of th e copyright ow ner. F u r th e r reproduction prohibited without perm iss ion .

49

C Tpt.

49

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

114 t R.H•

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Pno.

*55

C T pt.

55

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Pno.

m* « £ *

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R.H.

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>■#

117

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C Tpt.

Pno.

C Tpt.

Pno.

C

Pno.

67

67

R.H.

J

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118


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C T pt.

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3

C T pt.

Pno.

*

C T pt.

Pno.

* ossia

118


81 J=1.20 *

C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

Si. r.

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C T pt.

81 J =120 *L =

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C T pt.

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119


C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

97

7

97

6

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C T pt.

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C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

114

• • e• .

Flutter Flutter

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121


Flutter

C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

127

127

132

132

our a ped

4- 41 C14

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122


C T pt.

1 2 7

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P n o .

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122


C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

145

145 6

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**

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* Freely

J3

6.cresc.

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fff (to m. 168)

9 - - 'No pedal

157

157

•

R.H.

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R.H. 6

-41P-

J.120 An aggressive dance, mesmerized by an intense intoxication, yet still mechanical

r r

Cr r'r

IN.

647—er

6r ••

6 •

• 6.

** pedal tone f# (if possible)

* if possible, please sing upper pitch

104,4„,4

•

r r

410. DI 41P

123

6

R.H.

r r q.

•

4.

rR.H.


F r e e ly

C T pt.

c r e s c .

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mpPno.

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C T pt.

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R .H .d e c r e s c . ( t o m . 168)P n o . R .H .R .H .

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C T pt.

P n o .

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* i f p o s s ib le , p l e a s e s i n g u p p e r p i t c h

123


163

C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

-

163

169

nr AP 11 *

•

•

r)r )0 r Play as if you were an antagonistic drug (entice the dancing piano) Unduly precise

J • JO* 169

if

175

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F J

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• • • •• • 11,

7

decresc. (to m. 188)

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175

R .H .

P n o .R .H .

124


C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

,8o

8

185

J.

R.H. R.H.

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CTpt.

P n o .

190

CTpt.

190

P n o . R.H.

1 2 5


196

C Tpt.

Pno.

C Tpt.

Pno.

C Tpt.

Pno.

196

-

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au 'r

202

202

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126


214

C Tpt.

Pno.

CTpt

Pno.

214

6. IT * 7....

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214

C T pt.

214

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H a r m o n m u t e w i th s t e m e x te n d e d ^

CTpt

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2 1 9

P n o . PPP

127


Sound Painting #1: Gwendolynn's birth

• Sound Painting #1: Gwendolynn's birth is the introduction to a larger,

approximately thirty-five minute work that remains to be completed. The premise of this

introductory work is to create a single page that contains an entire movement, alluding to

the individual image found on a painted canvas. Each of the seven minutes contain a

single chord and when combined creates a large-scale chord progression. A single

melodic line, also seven minutes in duration, is located in violins I and II. The dynamics

of the work generally reflect contractions occurring at birth, intense then retreating, with

a sudden bursting forth at the baby's arrival.

The overall effect of this piece is one of static motion because the chords and

melody progress extremely slowly. A large, constant surge of overtones is also present,

due to this same unrelenting motion. The opening tension created by this constant sound

mass suggests that the very minimal orchestration to follow will still sound exceedingly

full, given the previous resonance of Sound Painting #1: Gwendolynn's birth remains in

the listener's ear for an extended time period.

128


Sound Painting #1: Gwendolynn’s birth

Sound Painting #1: Gwendolynn’s birth is the introduction to a larger,

approximately thirty-five minute work that remains to be completed. The premise of this

introductory work is to create a single page that contains an entire movement, alluding to

the individual image found on a painted canvas. Each of the seven minutes contain a

single chord and when combined creates a large-scale chord progression. A single

melodic line, also seven minutes in duration, is located in violins I and II. The dynamics

of the work generally reflect contractions occurring at birth, intense then retreating, with

a sudden bursting forth at the baby’s arrival.

The overall effect of this piece is one of static motion because the chords and

melody progress extremely slowly. A large, constant surge of overtones is also present,

due to this same unrelenting motion. The opening tension created by this constant sound

mass suggests that the very minimal orchestration to follow will still sound exceedingly

full, given the previous resonance of Sound Painting #1: Gwendolynn’s birth remains in

the listener’s ear for an extended time period.

128


FouR SOund

PaltlnGs

Peter Bodnarchuk

V 0 0

129


FouRSOund

PaltlnGs

Peter Bodnarchuk

129


Instrumentation


1 english horn 1 Bb clarinet

1 bass clarinet 2 bassoons


2 trombones 1 bass trombone

1 tuba

3 timpani (G, B, Eb) 1 - 18" roto torn

1 percussionist 1 sizzle cymbal (with brushes) 1 tom-tom (smallest possible) 1 horizontal, muted bass drum

1thunder sheet

strings

Score in C

Duration: ca. 7 minutes (Sound Painting #1)

130


Instrumentation


1 english horn1 Bb clarinet

1 bass clarinet2 bassoons


2 trombones1 bass trombone

1 tuba

3 timpani (G, B, Eb) 1-18” roto tom

1 percussionist1 sizzle cymbal (with brushes) 1 tom-tom (smallest possible) 1 horizontal, muted bass drum

1 thunder sheet

strings

Score in C

Duration: ca. 7 minutes (Sound Painting #1)

130


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Mashed Potatoes (Adding the Milk)

Mashed Potatoes is divided into two separate movements, namely: Mashed

Potatoes and Adding the Milk. The movements are designed to exist independently of one

another, and yet are best when combined together—just as the two images would suggest.

The work attempts to portray the constant change of life. As human beings we

have generally come to accept the concept that change is inevitable and constant, even to

the point of mere seconds. I say this because in the case of death by car accident, for

instance, the victim is completely fine until the actual point of severe impact. Having said

this, I am not intending to demonstrate a car accident in the composition. Therefore, it is

not a work yielding a dramatic single event, but a rather a series of constant changes.

I chose the title Mashed Potatoes because the action of mashing potatoes is itself

one of continuous transformation) The second title, Adding the Milk, alludes to the

motion of adding ingredients to the mashed potatoes, enhancing their flavour and

palatability.

This composition was written for the Miscellaneous Ensemble, the University of

Regina's New Music Student Ensemble, and as such offers the composer unique

combinations of both acoustic and electronic instruments.

The capitalization variances in the title and authorship represent the action of mashing potatoes.

132


M ashed Potatoes (Adding the Milk)

Mashed Potatoes is divided into two separate movements, namely: Mashed

Potatoes and Adding the Milk. The movements are designed to exist independently of one

another, and yet are best when combined together—-just as the two images would suggest.

The work attempts to portray the constant change of life. As human beings we

have generally come to accept the concept that change is inevitable and constant, even to

the point of mere seconds. I say this because in the case of death by car accident, for

instance, the victim is completely fine until the actual point of severe impact. Having said

this, I am not intending to demonstrate a car accident in the composition. Therefore, it is

not a work yielding a dramatic single event, but a rather a series o f constant changes.

I chose the title Mashed Potatoes because the action of mashing potatoes is itself

one of continuous transformation.1 The second title, Adding the Milk, alludes to the

motion of adding ingredients to the mashed potatoes, enhancing their flavour and

palatability.

This composition was written for the Miscellaneous Ensemble, the University of

Regina’s New Music Student Ensemble, and as such offers the composer unique

combinations of both acoustic and electronic instruments.

1 The capitalization variances in the title and authorship represent the action of mashing potatoes.

132


MAShed PoTAtoEs (Adding the Milk)

8:26 PM 10/25/04

Teter Bodnarchuk

133


8:26 PM

MAShed PoTAtoEs(Adding the Milk)

10/25/04

(Peter (BodmrcHu^

133



11:37 AM 10/18/04

Teter Boinarchuk

134


11:37 AM


10/18/04

(Peter (BocfnarcHu^

134


Instrumentation


1 alto saxophone

1 trumpet in C

1 percussionist 1 vibraphone

1 drum set (bass drum, medium tom-tom, closed hi-hat)

1 electric guitar (optional distortion and wah-wah effects) 1 electric bass (optional phase and octave effects)

1 piano*

1 violin 1 double bass

Score in C

Duration: ca. 8' 45"

* Prepared Piano is utilized in Adding the Milk. This required a 1-2" coilbound notebook and two 1/8-1/4" notebooks. These should be placed as follows:

- 1-2" notebook — sub-contra A small f# - 1/8-1/4" notebooks — small e — a"

Overlapping of the books is acceptable.

135


Instrumentation


1 alto saxophone

1 trumpet in C

1 percussionist1 vibraphone

1 drum set (bass drum, medium tom-tom, closed hi-hat)

1 electric guitar (optional distortion and wah-wah effects) 1 electric bass (optional phase and octave effects)

1 piano*

1 violin 1 double bass

Score in C

Duration: ca. 8’ 45”

* Prepared Piano is utilized in Adding the Milk. This required a 1-2” coilbound notebook and two 1/8-1/4” notebooks.These should be placed as follows:

- 1 -2” notebook - sub-contra A - small f#1/8-1/4” notebooks - small e - a”

Overlapping of the books is acceptable.

135


MAShed PoTAtoEs PeTER bODnARchuK

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138


MAShed PoTAtoEs 18

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139


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140


MAShed PoTAtoEs 27

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142


MAShed PoTAtoEs

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MAShed PoTAtoEs

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144


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148


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149


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* if possible, please sing upper pitch

** tap Bb and CM notes with fingers of left and right hands

151


MAShed PoTAtoEs

Fl.

PPPPF lu tte r

A. Sx.

PPPP

C T pt.

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D. S.

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D .B.

* If possib le , p lease s in g u p p e r p itch

** tap Bb a n d C ff no tes w ith A ngers o f left an d r ig h t hands

151


Adding the Milk Peter Bodnarchuk

= 14 4 Harsh--biting, grinding and focused

Flute

Clarinet in Bb

Alto Sax.

Trumpet in C

Vibraphone

Percussion LL 11.11

Drum Set "° TTan

Electric Guitar

Electric Bass

Prepared Piano

Violin

Double Bass

a IF

a

mn• an• ma• As•

• •

F F F (No Pedal) Play all X pitches behind the bridge and extremely harsh

M M rl

• -• = = II

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t t t

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j

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152


Adding the MilkPeter Bodnarchuk

J = 1 4 4H a rsh — biting , g r in d in g and focused

Flute

Clarinet in Bt

Alto Sax.

Trumpet in C

Vibraphone

P ercu ssio n

Drum Set

Electric Guitar

Electric Bass

Prepared Piano

(No P edal)P lay a ll X pitches behind the b rid g e and extrem ely harsh

ViolinIT

Double Bass

152


FL

Bb Cl.

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C Tpt. 4Vib.

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161

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11:22AM 10/18/04

Teter Bodnarchuk

184


11:22AM


10/18/04

(Peter (BocfnarcHu^

184



11:22AM 10/18/04

Teter Oodnarchuk

185


11:22AM


10/18/04

(Peter (Bodharcku^

185


A Letter for Michael

This final work deals with the subject of suicide and contains text from an

unknown woman's actual suicide letter—fortunately she survived. It also contains

phrases spoken by my friend Michael during his life—"I don't make the sun shine," and

"Strange things are done in the midnight sun." Thirdly, I have added my own thoughts

into the text, creating not only my own phrases but also statements built from the words

of Michael and the unknown woman. Above all, the text is extremely important, and as

such is recited, spoken, whispered, yelled, and sung. In addition, every attempt has been

made to portray the thoughts and emotions as realistically and accurately as possible,

even so far as to include the actual typing errors found in the original writing—see alto

saxophone mm. 24-5, "The classes are getting to much for me to copy with."

Musically, Michael loved techno and rock music; therefore, these elements have

been significantly included in this work, not only in the use of a synthesizer but through

the use of a constant dynamic loop as well. The dynamics are also staggered against one

another to create interest and add confusion.

The percussion instruments—starter pistol, water bottles, lion's roar, plate and

knife, and slapstick—all represent some means of suicide. The pistol is quite obvious

while the slapstick is a means of continuing the pistol's effect without resounding it. The

lion's roar is a hangman's noose. The water bottles suggest large pill bottles. The knife is

used to slash the wrists and the plate provides a surface for creating unpleasant sounds.

The musical structure of the work is: Introduction—A—B—A'—Conclusion.

However, the theoretical structure, that is. to say, how it was built in terms of measures

186



This final work deals with the subject of suicide and contains text from an

unknown woman’s actual suicide letter—fortunately she survived. It also contains

phrases spoken by my friend Michael during his life—“I don’t make the sun shine,” and

“Strange things are done in the midnight sun.” Thirdly, I have added my own thoughts

into the text, creating not only my own phrases but also statements built from the words

of Michael and the unknown woman. Above all, the text is extremely important, and as

such is recited, spoken, whispered, yelled, and sung. In addition, every attempt has been

made to portray the thoughts and emotions as realistically and accurately as possible,

even so far as to include the actual typing errors found in the original writing—see alto

saxophone mm. 24-5, “The classes are getting to much for me to copy with.”

Musically, Michael loved techno and rock music; therefore, these elements have

been significantly included in this work, not only in the use of a synthesizer but through

the use of a constant dynamic loop as well. The dynamics are also staggered against one

another to create interest and add confusion.

The percussion instruments—starter pistol, water bottles, lion’s roar, plate and

knife, and slapstick—all represent some means of suicide. The pistol is quite obvious

while the slapstick is a means of continuing the pistol’s effect without resounding it. The

lion’s roar is a hangman’s noose. The water bottles suggest large pill bottles. The knife is

used to slash the wrists and the plate provides a surface for creating unpleasant sounds.

The musical structure of the work is: Introduction—A—B—A’—Conclusion.

However, the theoretical structure, that is to say, how it was built in terms of measures

186


and meter changes, contains a pseudo compound ternary form. The combination of these

two structures allows for a forward-moving, dramatic progression, yet still contains the

static, controlled, mental elements of someone in dire peril.

187


and meter changes, contains a pseudo compound ternary form. The combination of these

two structures allows for a forward-moving, dramatic progression, yet still contains the

static, controlled, mental elements of someone in dire peril.

187

R e p ro d u c e d with pe rm iss ion of th e copyright owner. F u r th e r reproduction prohibited w ithout perm iss ion .

A Letter for Michael written by a girl I don't know

(including thoughts of my own) and words from Mike

!March 16, 1975 — Novem6er 5, 2000

Peter Bodnarchuk

"Suicide is not chosen; it happens when pain exceeds resources for coping with pain."

188


A Letter for Michael written by a girl I don’t know

(including thoughts of my own) and words from Mike

March 16,1975—Novem6er5,2000

Peter B odnarchuk

“Suicide is not chosen; it happens when pain exceeds resources for coping with pain.”

188


Instrumentation*

1 flute 1 bass clarinet

1 alto saxophone

1 percussionist 1 starter pistol

1 slapstick 1 plate and knife

1 lion roar 2 — 5 gallon water bottles (hard plastic with built-in handles)

1 xylophone 1 Roland XP-30 synthesizer

1 guitarist 1 electric guitar (optional tremolo pedal)

1 extremely detuned acoustic guitar (optional phaser pedal) 1 bass guitarist

1 electric typewriter 1 electric bass guitar (includes prepared electric bass requiring two

metal clips); a slide bar is also requested

2 grand pianos

2 violins 1 double bass

Score in C


* All instrumentalists are also required to recite text at pitch, speak text, and sing in an overtone manner.

189


Instrumentation*

1 flute 1 bass clarinet

1 alto saxophone

1 percussionist1 starter pistol

1 slapstick 1 plate and knife

1 lion roar2 - 5 gallon water bottles (hard plastic with built-in handles)

1 xylophone 1 Roland XP-30 synthesizer

1 guitarist1 electric guitar (optional tremolo pedal)

1 extremely detuned acoustic guitar (optional phaser pedal)1 bass guitarist

1 electric typewriter 1 electric bass guitar (includes prepared electric bass requiring two

metal clips); a slide bar is also requested

2 grand pianos

2 violins1 double bass

Score in C

Duration: ca. 13 minutes* All instrumentalists are also required to recite text at pitch, speak text, and sing in an overtone manner.

189


A Letter for Michael written by a girl I don't know (including thoughts of my own) and wonfi from Nth

Mar. Mar. 16, 1975 - Nov. 5, 2000 "Suicide is not chosen; it happens when pain exceeds Peter Bodnarchuk

resources for coping with pain."

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A Letter for Michael Written by a girl I don't know (including thoughts o f my own)

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"Suicide is not chosen; it happens when pain exceeds

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a\ufwords from ‘Mite

Peter Bodnarchuk

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M

I), ci.

■ppVakt (m kt, apptaihaadac dw p)Mh)

M r

Vota (mHt, afprailntdnt th* plkk) npX>l.

m

SpaWn iatalhrpkaa

^Shoattd lata Ik piano

■sm

V ln. I

V tn .l l

194



Fl

B. CI.

A. A.S.

Pert.

XvL

synth

E.thr./ A. 0 ir.

411.

Poo.

No.11

Wm I

VIn.11

6 3 3 4 47

4.9,

77

if

r ,

J

N

V

V

7 4.1.60

1 ,M] , j 3 —P

;Tr r 1

PPP aLtr-

ma Mellow 01,11

>> . f Cu I hurt w, b.11

CitiV) r PPP . •—•PPPP if

1 r 1 • r

PP

J PP

c1 k. r

r

t v 110.6J.LJ1_,,,i )11J J. 1 1

—11Y—

T.P PPPP

' ,,4

_

.0.

in...rk.)

a 441--.)

f

i4 .

V I — (-- r-- --- 1 —

6 3 4 7 4 4 4 4

3 1 r i i t i r 1 1.. i (iv

f arcroz.

i d PPPP

3, V 1 I

ra

61

8.---

r 6r 6,

r l i

4 t v ' , r 1 • • • i i ,,,,..,. PPPP

it i a i i, . 1 1 1 ( 4 1 r r r r 1 - '

pN

77

1V

77 11.

[71—r > %Wm 0.11.1:417nailrbe pistil

4

1 NA pm.

r_ 7

1 I

f

Wpm.

L„

lo golVere pew 4. . spionsltrl1. log ow'IWO

Vel..(nrke.spprosImetlo. N.

t -f7

'rt: off

195


A Letter for Michael6 3 4 7

PP

5. Cl.

PP

mp

XyL

S ynth .

Bor.

V ln .I

sm

V ln .l t

195


FL

B. CI.

A. U.

Pao.

XyI.

5)niti

Pao

Pno. II

A - fr r 46

4

A Letter for Michael 3 2 5 7 4 4J_50 4 4

Flom.

V V rr zi -r r

2 r

V 1 PP

V

2- V

I V I

4 3 5 4 4 4 1 r r r 1

1 2

1 2

1 V

1

1

V 1 V

Off f'74 6 .

.011 6 pav

3 2 5 7 4 4 4 4

V

.

- -V .2

41 et 11L.

2

1

1

1

4 3 5 4 4 4

1

1

2

2

2

P.0 V

46

Bor. y

VW. I

U.B.

46

4

2 2

V V 1 1 2

4

V 2 1 2

2 2 2

2

196

It -


A Letter for Michael3 2 5 7 4 3 5

B .C I .

mA .S x .

Perc.

X yl.

PPmp

M

Bar.

V ln .l

V l n . l l

196


n.

A. R.

Synth.

A. Gtr.

Pno. II

yin. I

Vin.11

D.H.

Stip

6 4

(P) v tr-


3 5 6 2 4 4 4 4

r it p

r P

r r

4 56

V V hat PPP

bi Int hs1 PiPP nt;

4 V I

P•1 a- -PPP J 5 J. rlm

4 V V V

56

6,_ 1H v 4 i it 4 1 2 • • 4 2 • • • •

1 a....

,

• ;•• .w.

>

p. • PPP

4. alp

. • • --.

li r r r .Z -v 4 r , , v r r I 2 2 . .Is. r

„..

6 3 4 4

) 11 11 14 i.”" 1

4

56

.or V

5 6 2 4 4 4 i'lloli 26liili j# v

PPPP ptp

Nahid

Na Mal

•

_4. IL s. PPP,

1 1 1

2

mp

4i

3 3 3

$ $

56 4r4.

2 -2 2

V p

4

I V

nlp artc.

v-I

tut VA

I

AA;

fr

PPP

197

V r--44 p

2

L.2 ,g


64

A Letter for Michael3 54 4

6 2 4 . 4i r r T-1

<rt

=a-*j 3= -/

-j - 4 -

p = =fj ^

S yn th .

4ij j j -j ^

•) ' I.~r~ r—i~rl~]..

j j; ~ r r jsr

....£i=i=Bfe

ppp 1 J J i J "Iop —

ir ■ ■ ' 1 .'rfesssp -M— 1 1'... 1—jT «mt. ppp mo 16 3 5 64 4 4 4

^ S S J i i .■>?_? ? 3-iML j g J L * O 3 S S 3 StT-------------i 1 1 1 1 1 tt 1 |- 1 1 1 =c= 1 i 1 1 1 =F= 5 ) 1 1 I | ■■,1}-1 ■■ ■■ 1— I I I .f tHjri i i FNt Prill t 4 i Hri i- 4 * i i ^ - 4 8 n r y n r r =

,,I.U y.yy-y-y-V. T T -T—T -T T—j j j . J J "i i i i t i ■ iJ.Hd.dafc!i 4 IHHrdab

l t < H r / A . G i t

M l a/ d '

197



D. Cl.

A. R.

Xyl.

Synth.

Eft./ A. 01r.

ED.

Our.

VIn.1

D 11.

2 6 4 4

62 Nvelbrslo YMbr 4

2 4 3 4 4 4,4,

-

5 7 4 4

yr ru r I 4 V '' tr—J zr z' r 11 ,,- r. Jir (. r , r f 1 . .

va. nrtittoppmlonselos the P

plocAl VA .11...Inaelirg Ile OA

xixr.

. ,I c__

v v 1 itiM) 1 I 1 V 1 I t

Voke(n.a.appnilmselfttls• pitch) Yrnmprogloodni

L. J

de OA

mr.

iii ,

fk t V 1 I 4 / m( 3 t 1 .... 62 (LYN...)

11 f -

6v -

Wes (nod.

• r.appngklating Mt 0141

V

Yetosppre

.0)7

tleadon pleth

UPP

I6. V

(mkromorethu6ng the phrh) 62 mp

-

VA oppmbsseleg M plink

.0:17J

1.6

6V /11 V V z V JJ,I, t 3Y 1;••

Pnpan Ilan Wm II low rand dip NIE.G Mel it moll weal tip tell EA)

1.1.114.01A)

1..0 w.f.

PP

16 1

7.1f 4 V V V g V I -

2 6 3 2 4 3 5 7 4 4 4 4 4 4 4 4

W1.1.71 plich If pon111.) 'ell,oarppesinql.gth• Orb

r Vokrincler.sppretknallen Ilw pita)

* —X; 7P. ...ay 171

X 4 IN ..... ;,...

4 4 4

Vilthivred (et pitch If powthle) P

Y.I.oppmlaudnget. pltrk

.0:7.0; Vol. (nell e,oppnnlamilne the ploth) PP l 3 c l V I V 2- r T1 1 t i 1

al •fl.I..1, I;;,,

44 e .. n JO

r. se N. NW.

Yf V V V I 1 i

62

62

VN..

4v

V V Vekr (.14,•nonotlre•dele the OA)

Wet (mill. opprellmolon thr 010)

V OD Lus r V (6.

V•let (nreN, spraythwelpg the 01101

livita

V.1

V

Vs. (nth, sppreelmethag rh• OA)

7 Mg

V

iV

Yeltopprttlmadr. the phth

ICY

r PP

V

MopprotimolIngthr plIch

tor '-rrf

198

PP

PP


A Letter for Michael2 6 3 2 4 3 5 7

mp

ipprethaadnelht pilchmP i

PP

ippraiUaahng <h* pitchmr.ipprtilntdng th* pilch)mp

PP

mXyl.

pp

■ppmchnathipthcpiltfcj Vcl, ippnitattfngchf pilchmr .mp

Vril, approifmMiag Pi* pilchM>Vole* (rrchr, appeal Inuring the pitch) mp

PP

’npae* B*»i(Frrt It large m od dip nlE-C (feeI St until metal tip : nil E»A)

C D .

PP

Yel.approihaatlsglhe pitchsm,_____W U ip id (al pilch (fpactlblc) Veka (rtche.approlhaaHai the pitch)

PM

V«ke(mlte,appevthBailngthe pitch)WMtp*r*4 (u pitch If peailhk) mr,

Pno.lK

Volt*(mht,»ppt»tlrmllnt the pitch) Yti.appratfanadflg Ihc pilchm .Vaka (rccha, apprailmariag the pitch)

_______ mp __________

ippcnilmaihtg IhcphchMiVale* (m ill, appratlmaclag the pitch)

PP

lh* pilch) Yell, appradmathig the pilchmrmp

198



71.

B. Cl.

A. Sr.

Pac.

X71.

Synth.

Elk/ A. Olt

E.B.

No. 1

Pno.11

Bar.

Vln. II

D B.

Wig Mbrola n r

if

3 4 J=40

Inf

5 6 4 4

V 1 t 3 IT

4 7 2

72

I —

•

ft -771f V

XOY p

_ • I— — prf

4 4 of a

V

V

PP JAI

Ilmnlyv lIhr nein

6 III III 10 . i - 4 / 1 J I 3 J • . II* • -

f •••• i

Mem eon TIM. the uTr realm

r • t P

if eV

of die Ns

ir

loop is

t'i' P • 'r-r?. P

PP

Pr_.

AY '

It-14F P P __P r _ v i i fm. pp

3 4

- 6 6

p

5 6 4 4 6444444

'' f — — ff — •f de--. p

4iiiiii ,

4iii5ii 4iiii b iii ii iiiiiii i'° i ii

1' 4,.... p PP P I ff

" ii•ii.• 1 iii.i red

72

IW

V

if

if

.WAN

P

\6i

PPS

V

pp LO Y P

P ft

p

199



r- y-

54

64

»/ ■sm

hr/ “ i Ti s

X yl.

' i ] J J - : - T - ~ I 'H " i r L— T - s

f t : - . ^ 1 =

P*rf*rm n i t 72-n on lht upptr ptrtiM

--------------f c X

s r > - f

•frtu N n

- = ----------- - P - . g f e - .

- J J J y J J J

■ > r i . i r . ¥ ~ r f . 1

^ J

PP

-----------------^ ---------------------

j c a r s3 — i - 4 ---------------------------

_ U --------------------------

s r > < r f P P s m p

H.0tr7A.Olr.

3 5 64 4 4

»/

#•/* iNrac,

444.44>44-*P"I I i "l" I 1 I'

199


A Letter for Michael 6 3 2 7 5 4 3 4 2 9 4 4 I 4 4 4 4 4 4 4 8 79 6

Fl.

La

,.sr.

Pere.

Xyl.

"A

it

ho I

t

,..0

Bar.

Hn.J

In."

D.O.

it i -I - f r r 7 r 6 , f— N

Y a i 2 - 1 - 9 I 1 5 1P PPP PPPP .... ..j, if If

1 I .

, I 9 h.._ il j h IC P;i"

1I

2

ff T of =••••...p

2 r 1 - t-i - , 1 _. vz. S - .1 r 1 r s - 1 PPPP "P . -4

79 N -- I H f

H V 2 I i 2 1 1 5

4 v it 5 I 5 1 2 2 2 .

0=.

i ,.am er..1....., .= g a.. .. . 's-.. --• + +...-...., ......._____......•••

—f .......-

thelle

71) '

N

...........„

• - -PPP PPPP --...

n...r.fh. Da MI. wiG 2

.1, 17 .-- Rf

P P

—

t 2 . I .1• ii '7r 1 t i rrr r I 1 r. 1 't"P I -- -,---07 " — P .11.

P er—r-T-41'

P

rt r I —P ...r p

6 4

79 il lat it

N

3 4

2 4

7 4 .

5 4

14111 1

4 4

3 4

4 4

avisl

2 3 4 8

011 T T 1 2

v ill T 14.1 1 1 1 11 i # 61111 _i , . , v tit

''-'-- f I.P --- PPP PPPP C r Rr p

4v oiiiiii 2 '4 i '4iiiiii'4iii ' 2 '4i i

6 111

iii}' Sbiiii

1 1 5 ‘ V c111 11 -01 -it 1°1 I I I el 1 , 2 1:1"

--- f 7 I*P r inf P

flt , „ i 2 , I , t , .. 4 " - t k' , v 1 i'iiki i " i ....

71 / V 2 V - -T 5 ..1 I I IV

79

i .2 -2 1 4 1. 1/ -- .ffi

- PPP PPPP ff ..r p

4 v 4ihr_ Lici; - v o • 1 i ti.c_ v ....._ I PPP

_,.., PPPP

2 ____. 2 -I 12---).of =-P f-.0) . P

_' f

- 1 V '-. F - lit - it - li t li 1 i - II — lit - L,V - tif

A

V

cI PPPP

200

if


A Letter for Michael6 3 2 7 5 4 3 4 2

4 A -----r J U Y f ■

4 *F|Fj4=|

4 4■ r - .

4 4 4 - r =4

l^ p r :— r-4iv , r i

W f — m ppp PPPP — ST «/ P

^ 1 " p u 1 j ' • 1 t£jm ppp /

— - ,ai f = = =— />

7>^ - f - -■i -

a PPP pppp «tp = f

- ■. =«

> > > >S jn lh .

i lEGfe/A .O lf ,

-£-r.yrf

»/

t r - f - . ?r ■ =g-=.©•=

64

7J M

34

24

74

54

44

34

44

2 34 8

h im m H * * * * * * * * * » « « a % ««« ^ a a ?= /

!' > U U i ^ h h h Hi P P i p f P I i p f f f i f f

U i U U

InI~=M m i

- pppp «/=■ f

i r ~ r n»<-~

ir

200


tl

B CL

A. Sx.

Pao

XyL

Synth.

E.Ger/ A. On.

E.B.

Ito. I

Poo. II

Bon

Via. I

VIn.11

D.B.


4 3 4 8 8 8

A

4

1 A

A

H

4g A

A

44 A I i A

(=1E dnts MG lellbh71) nd E

bp

IT

ry.: .....

6. 6r ---- 6r-77r /

,

4 ‘ i) A ''fffr 1“ A n r

as

4

ififp

3 4 3 4 8 8 8 8

ri

4g

4g

A A A

A A

A

A A

as

4g

A

A A

A

A

4 A

11

201

A



m --digV

I f

J n

* 1 1--------

=sfel==2g

(prrpmd btn)(pky tD X pHcha print

= p t =tolthfrrt)

1 -k-4-n lEl ip

n 1 m 1

dll ,

A*'.>

:: *1— n=> f ^i n —sr

38

. 3, -------

,J' ' "P"”

48

38

^ Jl P IP

48

JT

t ii - •g"

/ i ii . =—

is

I I1 ' J l l ---------

¥

■ P h . -

p —

X yl

E.Ctr./A.Olr.

201



3 8

4

B. CI.

A. S9.

Pelt.

XvI.

Synth.

E.Citr./ A. Mr.

rno,S

Pm. I

Bat

AL I

4 98

177•Or !lades) Pang lenson. aM l Mite Own gylelly poll awl to mt. • Inh Wert

4 i

98

•

- ^

t pe ,Immul E.G

bi: ' 71,vul. ..),, w -6 ,11 ft::' i , oF 1 7 1 1,..1 7 ‘g. I

08

4

3 8

4

4

98

98

1

4

202



ri38

i ■ —

ff } u ....... > > >'-------------- ■^ > >

r—

5 ---------------------------------

ii ^

la in

«■ . -J L ^ k ='• truratul t G

A = t = F F I-|i - *

Tip wl F.

9t

rp— . . . . . i * ' ? 'r' ■ ' 3 — p - !■ - 1 -fft

38

202



FL

CL

A Sx.

Perc

Xy I.

Synth.

EGIrd A. thr.

E.O.

Poo

No. II

Yin.!

NUT!

3 8

n4g

4 8 I

3 8

tl

A 4

1 j A J I J PL)

A

H

ffT.p as fleIburi - - - sulDIG , R. IL

' 1,.1 ir ,1%. IL br x x4 r .3E r

• •Irvan vil FA; v1 C.0

Strsr. (er.d.)

1-

• . . .... .

— 3 ..11FJA Tap

g 1 ,* F N , , 1 ''...7.--- 1—r7-7-. . A A , f , , ., .14

3 8

4 8

3 8

44

4

A

1

101

A

iA

4n

A

A

203



3/oj 8

48

38

S y n th .

K .G UJA .G lr .

38

Strum (spvifrii)

i j j j ' n n a

48

38

Pno.JIt

D .n .

203



Fl.

B. CL

A. S*.

Xyl.

Synth.

E.Gtr./ A. Gtr.

Pm. I

Pno. II

3 5 8a

--

1I6

H

6 ) t j

> > > >

116

6

3 8

J17 Strnn idernmord)

I 61.

5 8

4

F

116

Her. rg

Vln. II

116

4

1

4

J R

aI3.

204



Via. II

DD.

204


A. Sx.

Porc.

Xyl.

Swld:

E.01r./ A. Chr.

E.B.

Poo. I

Pno. II

Bar.

In. I

Vin. II


5 3 5 4 3 8 8 8 8 1

V

a a

a (Ka VVVVV noel (54.114)

I . r , r j

ik 4 41 4

Mk SIld• Bar out WG

1 I Lr t l- TI". 1 a " Ill ! 1 !

_I

111 a arrt

.1.1A4 (plvit NI, bladt notelmdt)

-- 1PI: rstrel 4; c I% 7 4

i:

4 41 , --r Jr .

A 4 •• 1 -1.4

5 8

1 .4

3 8

5 8

4 8

3 8

I perfermtd by 1448114.1r nnenr?

• phy •11 pitches I orbit bd. *rim.

a L

A A

A

a

4

A

A

205


A Letter for Michael5 3 5 4 3

131 (SUrtrr Phial) (Shpulcfa)

m r p*rf»ri« la a d n n tir mirairr

X yt.

S y n th .

(piarlt wily bbcli n»Ulw*dt)

E.O.

SyaiWtlitr* ptrfermH by pUniM.lf M tnury

• pby tit (JKhn t ort*»* M*w «rkft*

V ln .l!

205



B. CI

A. Sa.

Xyl.

Synth.

C.Gtr./ A.Gtr.

F.A.

Via. I

VIn. II

4 8 A

3 8

4 140

14

f

Aremakdallar(ennronly lean n1 ndaan InlItid II tenuity') Al nrInarolmadal W141111.01 an Onions phrh. rreadnte Mang Ilailarly hued la Aden musk 'remise *mai he annbol an Wel Estraig.len an nal), mi. In IG,.Nm ford. Thrlrw E tirlag timid hoed low ammo amnion

I r-71 I 1 ,1 § t '

, .- A 1....

Senn dant ilammanl

4 4 spoken with passion

1 1 1 4 1 i i . i •

i

1 ~g>

r, A The ...nu wrkirn thorny Wan On nrlIrrtsal, an antrdon sr pale I hal InntlE The atone headman and pail nod...mut.

b 001Id Wei* di. pag adlimpnktalk Mantb and ferlha aaaa Indhidual obelus mend Ihr and ethane. The nrInrerehb ONO surthtlhr urnapfiand basnaed larvanl nk herIYa UnfenunarrIN Michael did an.

4

140

3 8

4 8

I

14g

(5.?

4

I-

1 A

A

206

A

A


A Letter for Michael48

38

Xyl.

AcMttitgullirftnrtmrij' knwitd •triapt mllrd V n^ttli-rd)A lirrbigtibnld kf wlthwil an akrlmlpllih, rm tlnf ■ In mg iladfartj fiund la Aibnmuik Tamlan •hau ldbagm tattM b lth£ itrln (,la ita ia l8 >a«itilmaiM0l C, t»d <o fcrdi Thata* C llriR|tb«atd h u t (hi Irail amaanlaftamba

pE.G It J A .G lr .

Strain ih n 1> donnntrf

Spoken w ith p a s s io n

Tba ttitnainrklaniharttybafert ihanrHrrtMkuitrvrdaiaarplIlt la h ll hmrlC TIm iM m b p r in n n a M p a h m ih iM liu iIt b otObrd tu n I* g»*a )ou «|llnpH kit* Ibt Ihtatkn and ftdhgt efanindMdual abahu aaaahad tha and of hop*. Tba aribrofthb natauiraHad Iba altamptand Haiti e ird b ra ird akhhrrltfi. l'nfertunaitl<,M<ihatl did m l 4

838

206


B. Cl.

A. S.

rem.

xyL

Spth.

F..(1tri A.Gtr.

r..13.

Pool

Pno. 11

3 14


4 3 4 3 4 3 8 8 8 8 8 8

4 4

-A

147

6 a 1

2 if

147

6 suaG

r" . A ; I 1

tul

r r A Er,r "f-r_f I a;Lt.

147

6

3 8

- A A A

4 3 4 3 4 3 4 8 8 8 8 8 8 4

A ft

111

1

147

Dan g

Vtn.1

Via. 11

013,

147

4 1

g I A

4 4

A it ft

207


3A Letter for Michael

4 3 4 3 48 8 8 8 8

38

44



FL

B. CL

Pert.

xtI.

S6nth.

E Gu/ A. GU.

Pno. it

Bat

VIn.I

VW!

D

4

.04 4-83.4 I r or IA

AT

7}

1160

• ph, At X Ohl,r for the ea rot, sp alnior

p fern.

.71

4'r r PPP PPPP

r r *1,

• .

Af

PPP

Lfm-# PPP

• phi dot lowest IN se auks a. psuitole

r cro

PPPP P F

i

' z . IL

1 11 , 4 .1---1 L: k ) ,. ir . 1 r7 I r ID .

I N PPP r ._„... T

PM 141 —1

160 I made pulurlwl2 spdonel phsur pc1.1)I

I N i ' t" 4. t____, J J. 1v 0 44 Ili

f

Without Ilide Me

3 PPPP C pfp

) 1 r — J I r —

4

4

60

.07

61 , I I 1 V f

P 1 p,I

/5•• l' : iii , 1 kr, r

2

c

r

F} 1.1

160

Gag Imo WRAY eratedkc, (REMAIN INCONSFICUOUS) Cs.s hob, fork net • NO pipe. fr plc& (Irwmary)

if

• . "Su- ci-dc s not chos- n;

6

1p

li

it happ•cns whe- n pai- n

PPP PPPP

b.

pq

PPPP

z —• 7 I

208



— , PPP

tju j j-5b>ppp

ppp pppp

S ynth .

E G t r /

i- c i-d e

Jff

n o t ch o s-

s a p

'Su-

VtH. I

PPP

"P

208


A Letter for Michael 6 5 2 3 3 4 6 4 4 8 8 4

El

B. CI.

A. S.

XS I.

Synth.

f ff I .1.1 welie the son RIX f

4 j .1 JJ

V

Mimi In Wm Innlog Imo.? mP

t 1I doll sake the lies Jim

g

phi itk X07

mom-oni f--

bSV

Rothe/lit happy Alen gnaw P

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210


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V Letter for

78

Michael

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Recited la happy jafciat maaarr f f \ I dan'l maltr

210


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Synth

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A Letter for Michael3

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iarD. CL (naa>X plttkn)

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iar

X yl.

S ynth.

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> >_ t a _

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m

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------------- D. 0. (Naa-X pltcton)

216



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229

spoken with passion Ir sonlblr opt. wild la door Inwily,olla lowed bniln wall.. condor. walking io freli

line prilocin woo kW tan fnwn At sonnet: mote •• dltiorbowee

L

22

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r

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217



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mr.ppp

mr-

floe.

anX yl.

mr-A.Olr.

mr:

mp

us-r

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mrV tn .l

mr.V ln .l l

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217



Text beginning at measure 214

Suicide is not, as some claim, a permanent solution to a short-term problem; often the victim has suffered in immense pain for years. It is just our shortsighted view of life that suggests such mistaken comments.

(PAUSE)

My friend, The world never stopped or even slowed down. It's like you never existed at all.

218



Text beginning at measure 214

Suicide is not, as some claim, a permanent solution to a short-term problem; often the victim has suffered in immense pain for years. It is just our shortsighted view of life that suggests such mistaken comments.

(PAUSE)

My friend,The world never stopped or even slowed down.It's like you never existed at all.

218


Master's Compositions CD 1 of 2

Track 1— tessa: for piano 7:24 Avila Lotoski, piano

Track 2 — tessa: for piano (1St recording; poor quality recording) 7:05 Nicole Hamm, piano

Track 3 — tessa: for piano (home recording) 6:54 Avila Lotoski, piano

Track 4 — Surrealism for Andre: A Mindscape Project 7:48 Chamber Ensemble with the U of R Music Faculty*

Track 5 — Violets — The fall of the house of usher 3:40 MIDI

Track 6 — Violets — The Haunted House 4:48 MIDI

Track 7 — Violets — Lenore 2:22 MIDI




Master's Compositions CD 2 of 2

Track 1—A String Quartet for Kansas Abigale 11:07 Jeff Looysen, 1st violin; Alison Stewart, r d violin; Hilary Sametz, viola; Kieran Conway, cello**

Track 2 — Surrealism for Symphony Orchestra 7:24 MIDI

Track 3 Surrealism for Symphony Orchestra (read through) 9:39 U of R Chamber Orchestra*

Track 4 — Sapphire: for distanced trumpet and piano 8:08 Matt Field, trumpet; Avila Lotoski, piano

Track 5 Sound Painting #1: Gwendolynn's birth 7:39 MIDI

Track 6 Mashed Potatoes 4:47 U of R Miscellaneous Ensemble*

Track 7 Mashed Potatoes (Adding the Milk) 6:33 U of R Miscellaneous Ensemble*

219


Master’s Compositions CD 1 of 2

Track 1 - tessa:for piano 7:24 Avila Lotoski, piano

Track 2 - tessa: for piano (1st recording; poor quality recording) 7:05 Nicole Hamm, piano

Track 3 - tessa: for piano (home recording) 6:54 Avila Lotoski, piano

Track 4 - Surrealism for Andre: A Mindscape Project 7:48 Chamber Ensemble with the U of R Music Faculty*

Track 5 — Violets - The fa ll o f the house o f usher 3:40 MIDI

Track 6 - Violets - The Haunted House 4:48 MIDI

Track 7 - Violets - Lenore 2:22 MIDI




Master’s Compositions CD 2 of 2

Track 1 - A String Quartet for Kansas Abigale 11:07 Jeff Looysen, 1st violin; Alison Stewart, 2nd violin; Hilary Sametz, viola; Kieran Conway, cello**

Track 2 - Surrealism for Symphony Orchestra 7:24 MIDI

Track 3 - Surrealism for Symphony Orchestra (read through) 9:39 U of R Chamber Orchestra*

Track 4 - Sapphire: for distanced trumpet and piano 8:08 Matt Field, trumpet; Avila Lotoski, piano

Track 5 - Sound Painting #1: Gwendolynn’s birth 7:39 MIDI

Track 6 - Mashed Potatoes 4:47 U of R Miscellaneous Ensemble*

Track 1 -M ashed Potatoes (Adding the Milk) 6:33 U of R Miscellaneous Ensemble*

219


Track 8 — A Letter for Michael 14:07 U of R Miscellaneous Ensemble*

Master's Composition DVD 1 of 1

Track 1— Surrealism for Andre: A Mindscape Project 7:30 Chamber Ensemble with the U of R Music Faculty*

* Conducted by Dr. Alain Perron ** Conducted by Peter Bodnarchuk

220


Track 8 - A Letter for Michael 14:07 U of R Miscellaneous Ensemble*

Master’s Composition DVD 1 of 1

Track 1 - Surrealism for Andre: A Mindscape Project 7:30 Chamber Ensemble with the U of R Music Faculty*

* Conducted by Dr. Alain Perron ** Conducted by Peter Bodnarchuk

220


INFORMATION TO USERS - oURspace - University of Regina

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