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Sirens is a work that I will be composing to a text taken from episode 11 of James Joyce’s Ulysses. The action takes place in a bar, and involves two seductive barmaids who flirt with customers. Several men stand around the piano, singing and flirting with the barmaids, and Leopold Bloom observes the scene, feeling alienated and lonely. As with all of the episodes in Ulysses, this episode is about being an outsider, a stranger in a strange land, a misfit and someone who is scorned and reviled by the society in which he lives. Leopold Bloom is Jewish and experiences prejudice living in Dublin. He is also everyman or everywoman who feels apart and alone in the midst of a world that has no use for him or her. The piece will be scored for the Cygnus Ensemble: 2 guitars, flute, oboe, violin, cello and piano and has been commissioned by the Shapiro Fund for the Cygnus Ensemble. This will be the fourth section of Ulysses that I will be setting, having already set episodes 12 (Cyclops); episode 17 (Leopold Bloom’s Homecoming) and episode 18 (Molly ManyBloom). It will be approximately 20 minutes long and will involve 5 singers: soprano, mezzo-soprano, tenor and bass-baritone.
https://soundcloud.com/victoria-bond-7/sets/molly-manybloom-excerpt
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Sirens is a work that I will be composing to a text taken from episode 11 of James Joyce’s Ulysses. The action takes place in a bar, and involves two seductive barmaids who flirt with customers. Several men stand around the piano, singing and flirting with the barmaids, and Leopold Bloom observes the scene, feeling alienated and lonely. As with all of the episodes in Ulysses, this episode is about being an outsider, a stranger in a strange land, a misfit and someone who is scorned and reviled by the society in which he lives. Leopold Bloom is Jewish and experiences prejudice living in Dublin. He is also everyman or everywoman who feels apart and alone in the midst of a world that has no use for him or her. The piece will be scored for the Cygnus Ensemble: 2 guitars, flute, oboe, violin, cello and piano and has been commissioned by the Shapiro Fund for the Cygnus Ensemble. This will be the fourth section of Ulysses that I will be setting, having already set episodes 12 (Cyclops); episode 17 (Leopold Bloom’s Homecoming) and episode 18 (Molly ManyBloom). It will be approximately 20 minutes long and will involve 5 singers: soprano, mezzo-soprano, tenor and bass-baritone.
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Solo Piano 9'
Publisher: Protone Music
Simeron Kremate by composer Victoria Bond was written in the fall of 2018/spring of 2019 and is based on the Greek Orthodox crucifixion chant from the Holy Thursday service during Orthodox Holy Week. Its opening five-note melody in the plagal of the second mode features the augmented seconds that are characteristic of this musically compelling mode.
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Contains an element common to both Chinese music and American jazz
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The three biblical women who give their names to these three books share a willingness to defy the conventions of their day to save their people.
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Theme and variations on the Brazilian samba, emphasizing the earthy qualities of the flute and percussive aspects of the piano.
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Using original tropes notated in A. W. Binder's Biblical Chant for Esther and Ruth, Bond invented her own for Judith as the story comes from the apocrypha and not from the Torah. The stories of these three biblical women share a willingness to defy the conventions of their day to save their people
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Ruth Bader Ginsburg: In Tune with Justice Program Note Because Ruth Bader Ginsberg is a towering figure and an inspiration to me, I wanted to write a work that added music to her forceful words. Knowing that she loved opera, this was a natural. I chose Mozart’s overture to “The Marriage of Figaro” as the basis for my composition, borrowing freely and adapting his energetic pulse, so appropriate to RBG’s own boundless energy. My music weaves in and out of Mozart’s themes, beginning with a fast-paced overture and continuing with underscoring and interludes that highlight RBG’s words. I added quotes from “America the Beautiful” and “The Star Spangled Banner” to this mixture, expressing the patriotic pride that RBG felt towards this country. Jane Vial Jaffe has created a compact script, framing RBG’s words with her own original narrative and bringing into relief the struggle and triumph central to the story.
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As part of the Houston Symphony's sesquicentennial celebration, and based on the folksong 'Deep in the Heart of Texas,' Ringing fragments the familiar melody in an Ives-like mosaic.
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I am fascinated with the music of the Far East and in my travels I have had ample opportunity to participate both as performer and composer in the music of China. Although I have never been to Japan, I am attracted to its music and to its culture. For many years have had a strong desire to compose a work related to Rashomon. The story was adapted by Akutagawa Ry?nosuke from the Konjaku Monogatarish?, an anonymous 12th Century collection of folk tales. The story tells of a murder witnessed by a group of people who have gathered under the dilapidated Rashomon gate to escape the rain. Rashomon literally means “the castle gate” and is the name of a large gate that stood between Kyoto and Nara in Japan. All of their accounts of the crime differ radically, but we are never told which account is the truth. The form of the story is intrinsically musical, being a theme and variations, but the emotional context gives this classical form a new perspective. I divided the work into four movements, and within the larger theme and variations, each movement has its own form: I. The Gate - Theme II. The Murder: A Crime of Violence – Variations III. The Murder: A Cold Calculation – Passacaglia IV. The Murder: A Crime of Passion - Rondo
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Based on a Greek Orthodox chant, this solo work became the basis for the piano concerto "Ancient Keys."
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There is also a great deal of dramatic and dynamic contrast. It is rhythmically complex for both performers and has frequent meter changes. The clever use of vocal and percussive effects creates a phantasmagorical work, difficult to interpret but well worth the effort." -New Directions
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Six musical portraits of colorfully weird, menacing plant…It takes a composer of Bond's skill to work them into a vivid picture, and a player of Cooper's caliber to make the most of it. Together they had the audience laughing out loud. - The Villager
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Using Washington's words as the basis for the text and similar in format to the Lincoln Portrait, the music is based on actual fife and drum tunes from Washington's era.
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Using Washington's words as the basis for the text and similar in format to the Lincoln Portrait, the music is based on actual fife and drum tunes from Washington's era.
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Based on a book by Susan L. Roth, using Whitman's ecstatic poem about how miracles fill our days.
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A saxophone plays on a subway platform, his music being periodically drown out by the passing trains.
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WQXR Radio: A Thousand More Will Rise: Victoria Bond Finds Inspiration in Women Past and Present.
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The language is pervasively chromatic, yet it takes in influences of all sorts, including blues, a waltz and fragments of popular songs mentioned by Joyce." -The New York Times
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Marshall Opera will present mezzo-soprano Mary Rice and pianist Amir Farid performing "I'm Told I'm a Citizen" from Victoria Bond's opera "Mrs. President."
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A story for children based on a Chinese folktale about a young girl who saves the villagers from dying of thirst. She selflessly offers to sacrifice herself to the god of the mountain so that her village will be provided with water. At the last moment she is magically rescued by an old man in green.
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Based on Susan L Roth's book "Listen to the Wind" the music draws from Pakastani folksong.
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A Jewish prayer that emphasizes the importance of names.
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The text of Leopold Bloom’s Homecoming comes from James Joyce's novel Ulysses, and is the pentultimate episode.
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