Apparitions 2014

8/9/2019 Apparitions 2014

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Apparitions

_____________

Thomas Nicholson(2014)


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Thomas Nicholson

Apparitions(2014)

************Flute

Clarinet Violin

VioloncelloPiano

************

Commissioned by the Bathurst Chamber Music Festival


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Thomas Nicholson

Apparitions (2014)Commissioned by the Bathurst Chamber Music Festival

PERFORMANCE NOTES

GENERAL – Hauptstimme indications have been included in the score to indicate parts of theinstrumentation that should be brought out of the other instruments’ textures. That said, theintegrity of the equal balance within the ensemble should not be ignored and no oneinstrument is ever really more important than the others (apart from possibly measures 19through 25).

FLUTE – The ngerings for extended techniques such as multiphonics were taken from “TheTechniques of Flute Playing” by Carin Levine, reprinted in 2003 by Bärenreiter. The dynamics

written for the multiphonic passages should be considered and the player should strive toreach these levels, although physical limitations are also taken into consideration by thecomposer. The harmonic written in the nal two measures should be as quiet as possible; it isthe fth partial of its fundamental.

CLARINET - The ngerings for extended techniques such as multiphonics were taken from“New Directions for Clarinet” by Phillip Rehfeldt, printed in 1977 by University of California

Press. The dynamics written for the multiphonic passages should be considered and the playershould strive to reach these levels, although physical limitations are also taken intoconsideration by the composer.

VIOLIN & CELLO – The more complicated rhythmic notation in measures 31 through 38 aremeant to represent an anxiousness and ought to be played as accurately as possible.

PIANO – Sections of the piece are to be played inside the piano on the strings: square note-heads represent notes that are either plucked or are played as a glissando (cf. the opening).The grace notes in measure 60 should be played as fast as possible. The arrows in measure 82represent directional glissandi indeterminately and the diamond in measure 83 represents theregion where the pianist should gently slap the strings. In measure 86, the pianist will run hisnger along the A-string indicated while striking the key to sound the various harmonics. Thenotes in measure 88 will sound as written and will therefore be played on the strings an octavelower at the location of the rst harmonic (half way along the string) – these are also struck bythe hammers.


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PROGRAM NOTES

Apparitions was written for the Bathurst Chamber Music Festival’s new music

concert celebrating the local myth of the Phantom Ship. Less concerned with an

actual narrative, the piece expresses rather the atmospheric, emotional, and

psychological effects that one might experience at the sighting of such a phenomenon.

The opening sets the composition’s backdrop with a slowly developing atmosphere in

which individual instruments appear one by one out of the texture, representing the

still yet eerily moonlit waters. After a transition, the violin plays a plaintive folksong

native to New Brunswick’s northern region which the composer discovered during his

research. Slowly, the ship nally begins to emerge accompanied by anxiety and

restlessness, especially in the strings. This section heralds echoes and remembrances

of the folksong in the piano juxtaposed with a gradually decaying sense of intonation

around it as the piece ventures into microtonal inections: the viewer’s sense of being

changed after having seen the Phantom Ship. When the ship nally disappears, the

“still waters” from the opening are heard once again at the end, but things are not as

settled as before, and the piece comes to close quietly though not decisively.

© 2014 Thomas Nicholson. All Rights Reserved.Independently Printed.


5/22

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Apparitions

Thomas Nicholson (b. 1995)

© 2014 Thomas Nicholson. All Rights Reserved.

(2014)

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Ó œ ‰ ŒU

63 wwU ?

wwU

e = 72

e = 72

pizz.

pizz.

p

p

$

$

$

$

œ JœJ

3:2

$

#absolutamente idillio

$

$ Œ .

$

$

j .J

œ˙ .. œ œJ

3:2

. ˙ .

Ø

??

?

44

4

4

4

4

44

4

4

4

4

44

4

4

4

4

Fl.

Cl. B b

Vln.

Vc.

Pno.

66

Ó Œ Œ ‰œ ˙

3:2

w .66

Ó ‰œ w

$

66

JœJœ. œ . œJœ̂œJ œ3:2

3:2 3:2 3:2

˙ œœ w

Ø

Ø

arco

µ

µ

gliss. ˙$ Ó

$

˙ $ Ó

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arco

%

P

µ

gliss.

14 Apparitions

ª


19/22

?

?

4

4

4

4

44

4

4

4

4

44

4

4

4

4

44

4

4

4

4

44

Fl.

Cl. B b

Vln.

Vc.

Pno.

68

Œ . j ˙

Œ . j ˙

68

Œ ..( j ˙

Œ ..œ( j ˙

68

$

$

%

%

%

%

µ

˙ ˙

˙ ˙

˙ ˙

˙ ˙̇

$

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#

.

.

.

.

$

$

%

%

%

%

˜ œ˙

œ˙

œ˙

œ˙

$

$

p

pp

p

?

?

4

4

4

4

4

4

Fl.

Cl. B b

Vln.

Vc.

Pno.

72 jœ

j˙

œ œ œ œ72

œ œ œœœ3:2

œ œ ˙72

$

$

#

#

#

#

P

P

P

P

˜

µ

w

w

w

w

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˙ ˙̇

#

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#

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p

‰œœœœœ œœ

˙ œ Œ

˙ ˙

˙ . ‰

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˙ Ó

˜rit.

rit.

perd.

perd.

perd.

PJ

œjœ œ

$

$

$

$ ?

$

p %

15 Apparitions

ª


20/22

?

??

Fl.

Cl. B b

Vln.

Vc.

Pno.

76

‰œ.

‰œ.76

‰œœ..̇

‰· .

76

L L#

#

#

#

#

senza vib.

senza vib.

senza vib.

sulle corde

q = 40

q = 40

w

w

wwO

$

$



archeggio libero

(l.v.)

gliss.

archeggio libero

w

w

wwO

$

$

%

%

%

%

µ w

œ .

wwO

$

$

w

w

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O

$

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p

sulle corde

gliss.˜

œ œ.

w

wwO

' R>

œ.‰Œ Ó

$

p

poco vib.

poco vib.

S

perd.

?

?

Fl.

Cl. B b

Vln.

Vc.

Pno.

82

w

w82

wwO

82

$

p

poco vib.

senza vib.

senza vib.

glissando sulle cordeP

gliss.

w

w

wwO

$ ?

⁄

p

perd.

perd.senza vib.

schiaffeggiare le cordep

µ

w

w

wwO

I IØ

sulle corde

perd.

. Œ

. Œ

..̇ Œ

.Œ

$

$

16 Apparitions

ª


21/22

?

?

44

44

4

4

44

44

4

4

Fl.

Cl. B b

Vln.

Vc.

Pno.

86

$

Œ ‰ œ ˙ œ3:2

86

$

ww86

®) ) ) )) ))))) ) ) ) ) )

q = 46 [e = 9 ]

q = 46 [e = 9 ]p

p

gliss. sul. arm.

# #

$

˙ œœœ œœ3:2

$

ww

$

$

f

$

. œ ˙

$

' œœœœœœ œ

3:2

œo œ œ

$

P

F

espress.

P

$

j. ˙ œ

3:2

$˙̇ ˙̇

$

$

espress.

µµ

?

.

.

.

.

4

4

44

4

4

44

4

4

44

4

4

44

Cl. B b

Vc.

Pno.

90

w

‰. ˙

90 œŒœŒ

Œœ- Œœ-

#

# espress.

p

˙J .

œ-Œ

Œœ-

‰œ.

ww

˙ Ó$

p .Œ˙.

$

$

p

‰œ jœ œ.

$

$

P

P

?

4

4

44

4

4

44

4

4

44

.

.

.

.

2

2

22

Cl. B b

Vc.

Pno.

95

. œ

Ó O95

$

$

#

psul pont.

˙ ˙

œ œ œ ˙3:2

$

$

norm.

.

œ ˙̇

Œ Œœ$

#

œ .

wwÓ ˙

$

%

%

p

17 Apparitions

ª

ª


22/22

?

2

2

2

2

22

Fl.

Cl. B b

Vln.

Vc.

Pno.

99

$

$

99

$

$

99

˙ ˙ Ó$ ˙

?quasi

w ˙O O.

. .œ

..w

..w

.

-14¢

#

#

#

#

#

armonica

˙ wO O

U

.U

O OwU

..wU

.wU

.U

perd.

perd.

perd.

perd.

lunga

lunga

lunga

lunga

lunga

lunga

18 Apparitions

Victoria March 2014

Apparitions 2014

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