COMPOSITIONS by RUBEN REYES FEDERIZON B.Mus., University ...

COMPOSITIONS

by

RUBEN REYES FEDERIZON

B.Mus., University of the Philippines, 1973

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF MUSIC

(COMPOSITION)

in

THE FACULTY OF GRADUATE STUDIES

(School of Music)

We accept this thesis as coriforming

to the required standard

THE UNIVERSITY OF BRITlSH COLUMBIA

April 1997

© Ruben Reyes Federizon

In presenting this thesis in partial fulfilment of the requirements for an advanced

degree at the University of British Columbia, I agree that the Library shall make it

freely available for reference and study. I further agree that permission for extensive

copying of this thesis for scholarly purposes may be granted by the. head of my

department or by his or her representatives. It is understood that copying or

publication of this thesis for financial gain shall not be allowed without my written

permission.

espattoent of f^inflC

The University of British Columbia Vancouver, Canada

Date ApvLl }<>. Iff?

DE-6 (2/88)

ABSTRACT

This thesis consists of five musical compositions of diverse styles. Movement, the first composition is written for two pianos and percussions. It is a piece that is chromatic and yet very tonal; at times, some minimalistic tendencies are evident.

The second piece, Three English Poems , is a song cycle for a soprano, flute, harp, and cello. The texts are taken from poems of Milton, Crowne, and Falconer. These poems are tied together by the pastoral atmosphere of the music.

The third piece, Oremus, is a setting of common prayers of the Roman Catholic Church. In Nomine Paths frames Pater Noster, Ave Maria, and Gloria Path into one whole extended a cappella piece for a double choir.

The fourth piece, Variations on Rachmaninoff's 18th Variation on a Theme by Paganini, is written for piano and a tape recorder. The title itself tells much what this piece is all about. The part on the tape recorder is a mixing of MIDI and WAV files produced by Cubase and Roland Audio Tools software.

The last piece, Mga Salmo, is a setting of selected passages from the Psalms translated into Pilipino. It is written for sixteen singers who also play some Philippine ethnic instruments. This composition is a fine example of an integration of Western and non-Western elements of music.

ii

I. Movement for two pianos and percussion

II. Three English Poems for soprano, harp, flute, and cello

I. Oremus for SSAATTBB a cappella choir

IV. Variations on Rachmaninoff's 14th variation on a theme by Paganini

for piano and tape recorder

V. Mga Salmo for sixteen singers/instrumentalists

iii

THE UNIVERSITY OF BRITISH COLUMBIA

SCHOOL OF MUSIC

Recital Hall Monday, March 17,1997 12:30 p.m.

STUDENT COMPOSERS CONCERT

Movement for Two Pianos and Percussion Ruben Federizon

Michelle Chang, piano Patty Wu, piano

Dominique Brunchmann, percussion Tony Hall, percussion

Eruption and Relief Venko Deligrudev for solo violin

David Rose, violin

Seagull Grace Lee

Tara Whittaker, Catherine Ludwig, Mary Wing, Andrea Minden, Yvette Adams, Karen Osmond, flutes

Grace Lee, conductor

iv

THE UNIVERSITY OF BRITISH COLUMBIA

SCHOOL OF MUSIC

Recital Hall Wednesday, April 2,1997 12:30 p.m.


Enoch Triptych C. Scott Tresham

Kyrie Exhortation Agnus Dei

Gary Relyea, bass-baritone Rita Costanzi, harp

The Red Room Broek Ezelriel Bosma

Rosemary Siemens, violin

The Clock Ross Braes text: Anne Marriott

Tick Tock this Rock Living on this Hard Stone Mountain Apple Pink with Corning Summer

Benita Wolters, soprano Ross Braes, piano

Variations on Rachmaninoff s 18th Variation Ruben Fedcrizon on a Theme by Paganini for Piano and Tape Recorder

Steven Philcox, piano David Rose, violin

v

Till- UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC Recital Hall Monday, February 10,1997 12:30 p.m.


She Realized with Thunder Broek Ezekiel Bosma

Phoebe MacRae, soprano Steven Philcox, piano

Austerity Legislation (Six Short Variation for Clarinets and Percussion)

Querida Hills, Bb clarinet David Byrne, bass clarinet

Karen Lee, piano Nick Coulter, vibraphone

Jonathan Bernard, percussion Tony Hall, percussion —

Lindsay McDonald, conductor

Movement for Two Pianos and Percussion

Michelle Chang, piano Patti Wu, piano

Cynthia Yeh, percussion Kim Holland, percussion

Bruce Nielsen

Ruben Federizon

Invencion Hebert Vazquez

Margaret Brydges./Iitfe Querida Hills, clarinet

Cradle of Discovery Cheryl Hutchinson

That Soothing Rush Between Light and Shadow Spirit Dance

Grace Tsang, violin Rosemary Siemens, violin Robert Ashworth, viola Daniel Ariaratnam, cello

Three English Poems on poems by Milton, Falconer, and Crowne

Ruben Federizon

Emma Turnbull, soprano Mary Wing,/7wte

Melanie BeaJe, harp Daniel Ariaratnam, cello

vi

THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC

Great Hall, Green College Sunday, 23 March 8:30 p.m.

Recital Hall Wednesday, 26 March 1997,8:00 p.m. Thursday, 27 March 1997, 12:30 p.m.

SPRING and

THE FRUITS OF THE VINEYARD

COLLEGIUM MUSICUM ENSEMBLES Ramona Luengen, John Sawyer

Directors

"Sonate La Frangoise from Les Nations (1726) Francois Couperin (1668-1733)

Margaret Brydges, Miranda Clingwall, Baroque Flutes Cyrena Huang, Viola aa Gamba

Erika Vaaquez, Harpsichord

Revoicy venir du printemps Mon cour se recommande a vous Pourtant si je suis brunette The blue bird

Claude le Jeune( 1528-1600) attrib. to Roland de Lassus (1532-1594)

Claudin de Sermisy (c.1495-1562) Charles Villiers Stanford (1852-1924)

The Spring Choir

Sonata a\ C.... jjor for Recorder Georg Frideric Handel and Basso Continuo (1685-1759)

[Largheuo] Allegro

James Gifford, Recorder Daniel Ariaratnam, Baroque Cello

David Douglas, Harpsichord

vii

Sonate en Quatour Louis-AntoineDomel (1685-1765)

Grace Tsang, Michelle Stearns, Rick Dorfer, Baroque Violins Cyrena Huang, Viola da gamba

Andrea Hale, Harpsichord

0 sacrum convivium Giovanni Croce (1557-1609) Ave verum corpus Josquin des Pres (1450-1521) Pater Noster (1992) Premiere performance Ruben Federizont

The Ser ious Choir

Quintet No. 1, Op. 18 in A major Felix Mendelssohn Intermezzo: Andante sostenuto (1809-1847)

David Rose, Maureen Yuen, Baroque Violins Tawnya Popoff, Rob Ashworth, Baroque Viola

Cyrena Huang, Baroque Cello

Remplis ton verre vide Nun griiss dich Gott

- Ave color vini Tourdion Come, come let us drink Full bags, a brisk bottle Isn't it romantic

17th-century France Ludwig Senfl (c. 1490-1556) Juan Ponce (c.l480-c.l530)

Anonymous 16th-century Henry Purcell (1659-1695)

Hart/Rodgers, arr. Chinn

The Choir

* Wednesday evening only t Master's student in composition

The Spring /Ser ious lfy*+ld*$ Choiis

Soprano Alto Tenor Bass Andrea Arnold Andrea Hess Jacob Doherty James Gifford Jennifer Brisebois Glenda Tsang Gavin Grandish Stephen Wright Rachel Brown Sophia Vassiliadis Barbara Carlisle Patti Fletcher Karen J. Lee

viii

Movement for

Two Pianos and Percussions

Ruben Federizon

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Ruben Federizon

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Ruben Federizon

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Mga Salmo (Psalms)

for sixteen singers/instrumentalists

Ruben Federizon

84

!. Each singer plays other instruments in addition to singing; tenors and basses play kubing (bamboo jaws harp) and bunkaka (bamboo buzzers); soparanos and altos play kubing and finger bells.

2. Unless specified, cues (which are designated by broken bar lines) are 6 to 8 seconds apart depending on the discretion of the conductor.

3. A note or group of notes in a box are to be repeated until the end of the horizontal bold line that follows the box, making sure that the pulse of the piece (quarter note = 120) remains constant, unless otherwise specified.

4. This piece may be performed by 16 or more performers. If more one person is assigned to the same part, only the vocal parts may be doubled; non-vocal parts (except foot stomping) are to be performed by one person only.

5. It is suggested that music stands be used so that it is easier to change instruments and turn the music pages. One music stands for two persons should be enough.

85

Psalm 100:1-2 Awit 100:1-2

Make a joyful noise unto the Lord, all ye lands.

Serve the lord with gladness: come before his presence with singing.

Magkaingay kayo na maymkagalakan sa Panginoon, kayong lahat na lupain.

Maganglinkod kayo na may kasayahan sa Panginoon.

Psalm 33:2-3

Praise the Lord with harp: sing unto him with the psaltery and an instrument of ten strings.

Sing unto Him a new song; play skilfully with a loud noise.

Awit 33:2-3

Kayo'y mangagpasalamat sa Panginoon na may alpa;

magsiawit kayo ng papuri; magasiawit kayo sa kaniya ng bagong awit.

Psalm 55:1-3 Awit 55:1-3

Give ear to my prayer, O God; and hide not thyself from my supplication.

Because of the voice of the enemy, for they cast inequity upon me, and in wrath they hate me.

0 aking Dyos, dinggin n'yo ang along dalangin.

Huwag kang magkubli sa aking pananaing. Dahil sa tinig ng kaaway, puso ko ay nagdaramdam.

Psalm 15:1-2

Lord, who shall abide in thy tabernacle? Who shall dwell in thy holy hill?

He that walketh uprightly, and worketh righteousness, and speaketh the truth in the heart.

Awit 15:1-2

Sino ang tutuloy sa inyong tahanan? Sino ang tatahan sa inyong banal na bundok?

Siyang lulalakad ng matuwid, at gumagawa ng katuwiran.

86

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1 1 UUUU j ff\

94

B3

B4

While finger bells stricly adhere to . = 120. each . All cues are still 6-10" apart soprano/alto choses a tempo ( . = 72 - 98) for the regrardless of the chosen tempo vocal part. , o r , n e v o c a l Part

96

•• 120

p (bells)

r*

Altos continue with their chosen tempi while the rest of the voices sing in = 120.

L

103

V.

1-.

J * Hu Hu

r f J Ah

Hu Hu

ta - ha- nan.

ta - ha- nan

Si- nong

Si- nong

ta- ta- han

T» V *

ta- ta- han

Oios

sa in-yong ba-

* m 0 * i #

sa in-yong ba

ko!

nal na bun-

nal na bun-

c

C

105 r

$ $

a - king Dios ding - gin

Ah

n'yo ang a-

Dios

king da- la-

P P

dok. Si no, si- nong ta- ta- han sa inyong

-J. J J.

tuft-r r r dok. a - king Dios ding - gin n'yo ang a- king da- la-

lan sa in Si- no, si- nong ta- ta- han inyong

ko! Dios kol

ngin Hwag kang mag - kub- li sa a- king, sa a- <ing • pa- na- na-

banal na bun dok. Si- no ang tu-tu- loy sa

Hwag kang mag-kub- a- cing, sa a- ung pa- na- na

banal na bundok. Si- no ang l°V sa

106

Oyos k(!

ft J J J J —ey

ing. Pa- king-gan a- ko at in yong sa- gu- o tin.

J J J J

inyong ta- ha- nan. Si- nong ta- ta- han Sa inyong ba-

3F==!F= o~T4 ^» — *

ing. Pa- king-gan a- ko at in yong sa- gu- tin.

inyong ta- ha- nan. Si- nong ta- ta- han Sa inyong ba-

107

L

109

M - - X X — K -

Mag-si- a- wit ka yo ng pa- pu- n at ba-gong a- wit.

Mag-si- tugtug ng ma-ta- Ii- no sa Dyos.

—x—x -

mag-si-"X x~x—x-tugtog ng ma- ta-

" X — X " Ii- no

X X at mag-

m Mag-si-tugtog ng ma-ta-

Ah

111

Ah Ah Ah Ah

Foot stomp

** Bunkaka

112

Ah Ah Ah Ah Ah Ah Ah Ah

* ' ' < r f t f Yah- weh pu- Si Yah W e h _

Ah Pu- ri- in! Ah

ka- ga- la- kan.

H X

Magsi- a- wit ka yo ng pa-pu- n

ma-ta-li- no sa Dyos.

< > n

~ X — X " Mag-si-

Mag-si-tugtog ng ma-ta li- no at mag- ngay!

f = f = r = r z

T=r=r=rz

f—p-^r=r

:r=r=

: r = : p = f .

T = T = T =

f = p = = f = = p =

T=f=

113

Ah

Si

Ah Ah

Yah- weh pu-

-1 J—i: U-

m mp

Ah Ah Ah Pu- ri- m

m wit sa ka- ga la kan.

:*EEEEBE E S E E B E E B E S E

u_ subHo p

at bagong a- wit Mag-si- a- wit, mag-si-a- wit

«J Mag-situgfog ng L S E S E E ^

at mag-= ff

ngay

•'vr-r

ma-ta- Ii- no at mag- ngay ff

x - x X X X tugtog ng ma-ta-

aEflJitQ - X M X — X — X — X — X — X —

subito p

E ^ i Ii- no

Mag-si- a- wit, mag-si-a- wit at mag

: ff i-

subito p

— x—

ngay

m Mag- si-tug-tog, tugtog

EEyEEE

at mag- i - ngay

I T — r — r Tu-mugtog, Mag-i- ngay subito P

EEETEVEE/E^E =r r r r

or

E E E ^ E E E ^ L E E E

Tu-mugtog, Mag-i- ngay

E E E f e f e E ^ I E S T r r-

subito p Tu- mug- tog,

=r=r T r r r

T=r = T=

E E E ^ E ^

T ~ ~ r r—r-subito f

Tu- mug- tog,

114

wit.

wit

ma- wit

mm ng malakas na hi- mig Tumugtog, mag-i-ngay Tu-mugtog, mag-i-ngay ng malakas na hi-hi- mig.

mm ng malakas na hi- mig. Tumugtog, mag-i-ngay Tu-mugtog, mag-i-ngay ng malakas na hi-hi- mig.

ng malakas na hi- mig. Tumugtog, mag-i-ngay Tu-mugtog, mag-i-ngay ng malakas na hi-hi- mig.

m Mag- i- ngay Tu- mug- tog, ng ma- ia- kas na hi- mig

Mag- i- ngay Tu- mug- tog, ng mala- kas na hi- mig

115

ma - wit. ka- ga- la-

kan.

kan.

wit sa ka- ga- la- kan.


Mag-situgtog ng ma-ta Ii- no at mag- j- ngay.

3= Mag-situgtog ng ma^a- Ii- no at mag i- ngay.

*> Mag-situgtog ng

Mag-situgtog ng ma-ta no at mag- ngay.

ma-ta- Ii- no

-1—

ngay

S 3 ng malakas na hi- mig. Tumugtog, mag-i-ngay Tu-mugtog, mag-i-ngay ng malakas na hi-hi- mig.

ng malakas na hi- mig. Tumugtog, mag-i-nga)

1 K-tt3=*=^

Tu-mugtog, mag-i-ngay ng malakas na hi-hi- mig.

ng malakas na hi- mig. Tumugtog, mag-i-nga) Tu-mugtog, mag-i-ngay

-7—fcrgg^t ng malakas na hi-hi- mig.

Mag- i- ngay T - .v,ug- toy, rig mala- kas na hi- mig

Mag- i- ngay Tu- mug- tog, ng mala- kas na hi- mig

m

117

p ma-

U- ma- wit ka- ga- la-

i Mag-si-a- wit- ka yo ng pa-pu- n at ba-gonga- wit

Mag-si-tugtog ng ma- ta- Ii- no sa Dyos.

m — x — X Mag-si

in x" x x x a- wit ng mata-

li- no

m Magsi- a- wit ng mata-

Tumugtog, mag+ngay ng mala—kas na hi- mig. Tu-mug- tog, u- ma-wit Tu-mug-tog, mag- I-ngay

Tu- mug-tog, Mag- i- ngay ng mala-kas na hi- mig

Tu- mug-tog, Mag- i- ngay ng mala-kas na hi- mig

118


kan. ma- wit sa

ESE Mag-si- a- wit- ka yo ng pa- pu- n at ba-gong a- wit

Mag-si-tugtog ng

-jf X X X

wit ng mata-

I* Ii- no at mag- i- ngay!

B=n=m ng malakas na hi- mig. Tumug-tog, mag- I- ngay U- ma-wit ngma-ta-kas Tumug- tog, Mag+ngay

fern

ng malakas na hi- mig. Tumug-tog, mag- I- ngay U- ma- wit ng ma-la-kas Tumug-tog, Mag+ngay

1 J - -1 J..- L u- ma- wit Mag- i- ngay ng ma- ia-Kas na hi- mig

U- ma- wit Mag- i- ngay ng mala-kas na hi- mig

119

-r *-r wit sa ka- ga- la- kan.

T

m Mag-si- a- wit ka yo ng pa-pu- ri

ma- ta- Ii- no sa Oyos

X X XX Ii- no at magV ngayl

f t

Mag-si-a-wit ngmate- Ii- no at mag

Tu- mug-tog, Mag- i- ngay ng mala- kas na hi- mig

Tu-mug-tog, Mag- j- ngay ng mala- kas na hi- mig

120

$ u-

wit

h n

ka- ga la-

wit

kan.

at ba-gong a- wit

=fc

Mag-si- tug- tog ngma ta- Ii- no sa Dyos.

x x' x—X" wit ng ma- ta-

Mag-si- tug-tog ng ma- ta li- no

Mm m m Tu- mug-tog, mag- i- ngay Tu- mug-tog, u- ma- wit ng mala- kas na hi- hi- mig.

mm n n Tu- mug-tog, mag- I- ngay

m Tu- mug-tog, u- ma- wit

4 m ngma- la-kas na hi- hi- mig.

U- ma- wit Tu- mug- tog, ng mala- kas

Tu- mug- tog, U- ma- wit ng mala- kas

121

Ah Ah Ah

Ah Ah Ah

Ah Ah

Ah Ah

Dyos s) ko!

Ngma-

J 3 _ a _ _ n . « « - » — W X — X -

riga papu-ring i- rig

X - M — X X — X — K — 1

u-

~n~fi n HH _ i — i ^ 1 1 1 f 1 1 I I

• X — X - X X X X X X

Pa-ngkioon a koy pa king-

:.-fq̂ ,-|-l:...q.;. jan

~\ i

| 3 |

—1—1 t—( r 1 1 1— x1 * • :

Slow

Mag-si-

ff

Mag-si-

tugtog at mag-si-

tugtog at mag-si-

a - wit sa

a - wit

mm sa

Dyo(s)

Dyo(s)

0T

^ At" or-; S

Mag-si- tug- tog at mag-si- a - wit Dyo(s)

m . " P _ m ff

Mag-si- tug- tog at mag-si- a - wit sa Dyo(s)

ff

124

J= 120

pp

3F

Mag-si- a- wd sa

PP Mag-si- a- wit

bells

bells I I

bells J 0-

X K X

bells J L X K X

Dyos.

sa Dyos.

= J = J L

I I I I

I I I I

I I

J JL

I L

I j ) )

SUE i — =3=

l l l l r—r-i—i i—f~r r—]—n

ff T—I

I—T—I l l l l I—I—1—I I—I—I—I

C Cues depend on the conductor's discretion.)

130

COMPOSITIONS by RUBEN REYES FEDERIZON B.Mus., University ...

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